For the MAG project, he knew only that he planned to use five colors: purple, mauve, ochre, teal and forest green.
They begin with a concept and grow organically as he paints, one stroke or drip or dark line leading to another. Hodge does not use preparatory sketches for his large scale works. Lehman, lead organizer and co-curator of Wall/Therapy, “Even at its most chaotic, it has a soothing effect, inviting the viewer in to discover their own meanings and find their own familiar forms: a dog, an outstretched hand, a lost city in the clouds.” “One of the things I love most about Nate’s work is its openness and ability to draw the viewer in and get lost,” says Erich S. In February, he received the University of Rochester’s Lillian Fairchild Award for his work with WALL/THERAPY, putting him in good company with past award winners choreographer Garth Fagan, sculptor Albert Paley and Pulitzer Prize-winning poet Anthony Hecht. Hodge is currently an adjunct art professor at Brockport. He went on to receive his bachelor’s degree from The College at Brockport and his master’s from the University at Buffalo. “Working 40 hours a week for a paycheck gave me the discipline I have now,” he says. He attended Massachusetts College of Arts in Boston for a short period, then dropped out to become a house painter. It would be an honor, he said, to have his work within the same walls as El Greco and Jackson Pollock. The 37-year-old Brockport artist jumped at the chance. The museum asked Hodge if he would be interested. With Hodge’s touch, it could be transformed into a walk-through canvas, inviting museum goers to stop, stare, discuss and literally be surrounded by a new, gigantic work. Large-scale art, narrow spaceĮssentially, a narrow hallway displaying smaller works, the space had been chiefly a way of getting from point A to B. That’s when inspiration struck: Maybe Hodge could paint a large-scale, immersive installation, covering two walls and the ceiling in the museum’s first-floor, 1,200-foot corridor. It was so perfect a use of space and context.” I don’t see where this is going.” After revisiting the work two weeks later, however, “I was just blown away. “Hodge was so deeply engrossed in his work, moving his roller back and forth, dragging the paint and making calligraphic marks he didn’t even notice me. That’s what happened last May, when he spotted an artist, Nate Hodge hard at work on a large-scale WALL/THERAPY mural “City and Sky,” a cloud-like abstraction on Atlantic Avenue. Since becoming director of the Memorial Art Gallery in 2014, one of Jonathan Binstock’s main objectives has been to take risks and shake things up.
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