NADA Miami
Nathaniel Matthews & Chris Lloyd

With an outdoor installation by Pat McCarthy

December 3 – December 7, 2024
1400 N Miami Ave, Miami, FL 33136

This year at NADA Miami, Entrance is proud to present a two-person exhibition featuring artists Chris Lloyd and Nathaniel Matthews. Both artists conduct extensive research into images as symbols, examining their roles as creators of value and culture, multifaceted vessels of metaphor, and the profound effects of mass media on our conscious and unconscious minds.

Both artists engage with image transfer and the fastidious layering of mediums to reform and re-contextualize symbols and images as a means to new narrative ends Their compositions reflect research into subcultures and mainstream media alike. 

While Lloyd draws heavily from black metal and punk aesthetics, religious iconography, and viral internet phenomena, Matthews incorporates elements from film, historic media moments, and iconic aspects of sports and culture, as well as storied geographical locations.

Matthews’ work positions these moments with a measured, poetic sensibility, facilitating perspective shifts and extending metaphorical resonance. In contrast, Lloyd's hypnotic yet restrained collages imbue personal narrative and storytelling into his constructions, offering a unique exploration of identity and experience.

Chris Lloyd (b. 1994, Albuquerque, NM) is a multimedia artist based in Brooklyn, NY. Lloyd’s art-making practice re-contextualizes various forms of symbolism and iconography through idiosyncratic techniques of image collection, transfer and use of customized machinery. He plays with themes of nostalgia and personal narrative by manipulating and layering found material. Recent solo exhibitions include ‘Pick Your King’ at SPY Projects in L.A., 2024, 'N***** in Gothenburg', NSFW Gallery, Gothenburg, Sweden, 2023, ‘I Against I’ at Soft Opening, 2023, London UK, ‘And The Candles Burned Low, Deep Into The Night’ at Domicile, Tokyo, 2023, 'In Solitude Until The End of Time', Entrance, NYC 2024,. Recent group shows include ‘Unrequited’ at Brooke Alexander Gallery, NYC, 2024, ‘Towards Bethlehem’ at Company, NYC, 2023, ‘At the Center Of My Ironic Faith', Cassandra Cassandra, Toronto, Canada, 2021, 'Everyday Secrets,' Luce Gallery, Torino, Italy, 2021 and 'The Swamp Show, Mundus Press, Northern Massachusetts, 2021, ’Two Birds, One Stone', Gern En Regalia, NYC 2020.

Nathaniel Matthews (b. 1991, Staten Island, NY) is an artist who lives and works in Brooklyn, NY. His practice is informed by a history in self-publishing and sub-cultures, and often re-contextualizes symbols within those cultures, and is often led by deep research and reference. Much of his work centers around themes of iconography and idolatry, image manipulation and re-appropriation, class, ritual, fantasy, parody, and peripheral recollection. His past exhibitions include ‘Hard Mod Magazine’ at Printed Matter NYC 2024, ‘Ready For a Night On The Town In My Tuxedo’, 155 Bay Ridge Ave., NY 2021, ‘Original Music Op.1 listening demonstration’, Entrance NYC, 2019.

Pat McCarthy’s ceramic vessels combine the form and function of early American jugs, with the story telling of Grecian “red-figure” amphorae.

The images on McCarthy’s amphorae construct narratives from his 2024 farming season in the Catskill Mountains of New York. One amphora shows flowers he grew, another mushrooms foraged and eaten, one shows the wings of pigeons he raised, and one an erotic collection of images from the artist’s self-published serial zine, American Cream.

Using a modified black and white copy machine, McCarthy photocopies images, but removes the prints before they go through the “dryer”. The wet photocopies are stamped onto wet porcelain slabs.

Carefully, the vessels are constructed, slab by slab, taking care not to smear the wet toner images. When hi-fired in a kiln, the black carbon in the toner burns off, but the  iron powder present in the toner burns into the clay body, as a permanent red vitrified glaze.

Each amphorae holds a wine that’s been harvested, crushed, fermented, pressed, and cellared by the artist on his farm. The presentation in Miami will offer a Riesling, a Noiret, a Concord, and two apple juices from two separate orchards that the artist farms.

These wines are classic expressions of New York terroir. New York is the oldest wine region in North America, although the wines produced there are near entirely consumed within the state. The Catskills, alongside others regions in New York, are at the forefront of an experimental movement to farm small-scale, in extremely cold but extremely lush environments.

This is a Dionysian performance, and unavoidably that brings possibility of inebriation, however it’s much more important to smell the wines, than it is to drink the wines. The ecstasy is in the smell, the connection to the fruit and to the place, is afelt in one’s head, not one’s stomach.

-The Mountain Wine Bar by Pat McCarthy

Pat McCarthy (b. 1987) lives and works in Brooklyn and Andes, New York. McCarthy works primarily in sculpture, zines, and video, as well as staging social happenings, many of which include street food. McCarthy’s work deliberately traverses many mediums and disciplines to explore methods of storytelling. Since 2012, much of his work is executed on his Brooklyn rooftop, engaging with the hundreds of domestic pigeons he is raising and flying. 

McCarthy’s work has been presented in institutional exhibitions at Brooklyn Museum, Brooklyn, NY (2023), Brooklyn Botanic Garden, Brooklyn, NY (2022), Manifesta 13, Marseille, FR (2020), MoMA PS1, New York, NY (2018), Middelheim Sculpture Museum, Antwerp, BE (2017), Aperture Foundation, New York, NY (2016),  Fonds Régional d'Art Contemporain Sud, Marseille (2016), MoMA, New York, NY (2015). His work is in the collections of MoMA, New York, NY; Fonds Régional d'Art Contemporain, Marseille, FR; Museo Jumex, Mexico City, MX; La Fab, Paris, FR.