Roy Nachum’s experimental paintings, installations and sculptures incorporate elements traditionally used in conceptual and interactive art. Large-scale paintings often include Braille text in relief to create an oeuvre that is witty, compelling and autonomous. One recurring subject is the child with a gold crown covering his eyes (The King, 2010), suggesting man’s blindness caused by displaced values and desire. In his Fire paintings (Fire, 2011), Nachum utilizes Braille text and ash; the works are executed with the participation of people who are blind, leaving fingerprints as documentation of human contact. Whether experimenting with text, round color field paintings, investigating color blindness (S3, 2015) or interactive installations and sculptures (Sea of Crowns, 2012), visual perception has been the artists’ major interest.
Nachum sees his work as an “eye opener”, a vehicle to allow viewers to confront their own existential apprehensions. Nachum starts a painting and leaves the viewer to complete it, he encourages people to touch and interact with the work, believing that human interaction keeps the work alive and breaks the barrier between observer and “sacred object”. Imbued with its own evolution, the work takes form through a series of unstructured experiments. Nachum analyzes the endless possibilities of a material or method to introduce an additional dimension to the work.
Roy Nachum attended The Cooper Union in New York. Nachum’s work is included in many important public and private collections worldwide. He has been nominated for 2017’s 59th annual Grammy awards for best recording packaging for the art and art direction of Rihanna’s acclaimed album Anti.
Nachum currently lives New York and works in New York and Italy.