
Paintings
39 works

Untitled (Pig), 2024
Mixed media on paper
42 x 30 cm
Nathan Paddison's "Untitled (Pig)" presents a visceral encounter with its subject, rendered in the artist's characteristic blend of controlled gesture and raw spontaneity. The pig emerges from the paper's surface with an almost confrontational presence, its form built through layered applications of media that oscillate between precise delineation and expressive dissolution. Paddison treats the animal not as pastoral subject but as a vehicle for exploring flesh, vulnerability, and the tension between representation and abstraction. The work demonstrates Paddison's facility with paper as a responsive surface, allowing pigments to bleed and pool in ways that canvas would resist. Areas of the composition appear worked and reworked, scraped back and built up again, creating a palimpsest effect that suggests the image has fought its way into existence. The pig's features—perhaps a snout, an eye, the curve of an ear—assert themselves before retreating into fields of gestural mark-making that refuse easy resolution. There is something deeply unsettling yet tender in how Paddison approaches this subject. The emotional register hovers between intimacy and alienation, inviting viewers to consider what it means to truly see another creature. This ambivalence runs throughout his practice, where figuration serves as an anchor point from which abstraction radiates outward, never fully abandoning recognition but never settling into comfortable representation either. Within Paddison's broader body of work, "Untitled (Pig)" represents the artist at his most immediate, channeling instinct onto paper with an urgency that collectors seeking authentic contemporary expressionism will find deeply compelling.
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Guy Hepner is pleased to present an exceptional collection of works on paper by Nathan Paddison, the Australian-born contemporary painter whose distinctive visual language has captivated collectors and critics across the international art world. This curated selection represents some of the artist's most compelling explorations of text, imagery, and the playful subversion of meaning that has become his signature approach.
Nathan Paddison occupies a unique position within contemporary painting, operating at the intersection of pop culture, linguistic experimentation, and visceral visual impact. His works on paper demonstrate the same fearless approach to image-making that defines his larger canvases, yet offer collectors an intimate entry point into his creative universe. These pieces reveal the artist's hand with particular immediacy, showcasing the gestural confidence and chromatic boldness that distinguish his practice.
Central to understanding Paddison's work is his masterful manipulation of language as visual and sonic material. Titles such as Blew Skol Skol Skol, Mere Knew Mourn Star, and Arghh Ewe Tore Kin Tomb Ee initially present themselves as enigmatic fragments, seemingly abstract arrangements of words. Yet when spoken aloud, these phonetic puzzles resolve into familiar phrases, revealing Paddison's sophisticated engagement with the gap between written and spoken language.
This linguistic strategy serves multiple functions within Paddison's practice. It creates a participatory dimension to viewing, transforming the audience from passive observers into active decoders. It also highlights the arbitrary relationship between signifier and signified, a conceptual territory explored by artists from René Magritte to Ed Ruscha, yet approached by Paddison with distinctly contemporary sensibilities. Works like Soup Par Mar Ee Oh and Too Thai Gauze demonstrate how the artist mines popular culture for source material, fragmenting and reconstituting recognizable references into something simultaneously familiar and strange.
While conceptual frameworks inform Paddison's practice, his works on paper are fundamentally celebrations of painting itself. The artist approaches each piece with an improvisational energy that belies the precision of his compositions. Bold color fields collide with aggressive mark-making; figures emerge from and dissolve into abstract passages; text functions as both readable content and pure graphic form.
Tea Wreck exemplifies this synthesis, presenting viewers with imagery that operates on multiple registers simultaneously. The work rewards both immediate visual engagement and sustained contemplation, revealing new details and associations upon repeated viewing. Similarly, Cheetah demonstrates Paddison's ability to capture animal subjects with a rawness that transcends mere representation, imbuing his imagery with psychological weight and symbolic resonance.
The provocatively titled Tyrone Rr Sore Ass showcases the artist's willingness to embrace humor and irreverence without sacrificing visual sophistication. This balance between playfulness and seriousness, between accessibility and complexity, positions Paddison's work within a lineage of contemporary painters who refuse easy categorization.
The collection includes two particularly compelling works: Untitled (Pig) and Untitled (Pig With Wings). These pieces represent a departure from Paddison's text-based works, focusing instead on pure figuration and the transformative possibilities of the painted image. The progression from earthbound pig to winged creature suggests themes of transcendence, impossibility, and metamorphosis—territories that have preoccupied artists throughout history yet feel urgently contemporary in Paddison's handling.
These untitled works reveal another dimension of the artist's practice, demonstrating his capacity for visual storytelling without linguistic mediation. The pig, an animal loaded with cultural associations ranging from the farmyard to the mythological, becomes in Paddison's rendering a vehicle for exploring questions of nature, aspiration, and the boundaries between the possible and the fantastical.
Nathan Paddison's emergence coincides with a broader resurgence of interest in painting that embraces figuration, text, and popular imagery. His work resonates with collectors seeking art that engages critically with contemporary culture while remaining visually compelling and emotionally resonant. The works on paper presented here offer the same intellectual engagement and aesthetic satisfaction as his larger paintings, scaled for intimate viewing and personal collection.
The artist's Australian perspective brings a particular sensibility to his engagement with global popular culture, offering observations that are simultaneously insider and outsider, celebratory and critical. This positioning allows Paddison to approach familiar imagery and language with fresh eyes, revealing aspects of contemporary visual culture that might otherwise escape notice.
What ultimately distinguishes Nathan Paddison's works on paper is their capacity to function on multiple levels simultaneously. They are visually arresting objects that reward formal analysis. They are conceptual propositions that challenge assumptions about language and meaning. They are cultural commentaries that engage with the imagery and iconography of our moment. And they are, above all, paintings—objects made by a skilled hand guided by a restless and inventive mind.
The works presented in this collection represent an opportunity to acquire significant pieces by an artist whose trajectory continues to ascend within the international contemporary art market.
For acquisition inquiries regarding Nathan Paddison's works on paper, please contact Guy Hepner directly. Our team is available to provide additional information, condition reports, and assistance with acquisition and installation.

Nathan Paddison is an Australian artist based on the North Coast of Australia, working primarily in acrylic, spray paint, charcoal, and oil stick. He is entirely self-taught, having discovered painting during a difficult period earlier in his life, an experience that became the foundation of his practice and continues to inform the urgency and rawness of his work today.
Paddison's paintings are gestural and immediate, built with bold color, dynamic brushwork, and a flat, almost storybook rendering of figures such as wide eyed cats, toothy dinosaurs, and playing card royalty. His style draws on Art Brut and street art traditions, with clear affinities to Basquiat, Picasso, and Twombly, though his voice remains distinctly his own. Text often appears scattered across his surfaces, sometimes playful, sometimes fragmented, adding another layer to compositions that favor instinct and physical energy over careful planning.
He approaches each canvas with a sense of urgency, working across mixed media to avoid the limits of any single material. His subjects, whether drawn from childhood imagery or personal memory, are consistently distorted in a way meant to reveal character rather than surface appearance.
Paddison has exhibited across Australia, Europe, and Asia, and received the Kilgour Prize People's Choice Award from Newcastle Art Gallery in 2021.
Guy Hepner works with collectors seeking Nathan Paddison's raw, expressive paintings rooted in Art Brut tradition. Contact us to discuss available inventory or to inquire about upcoming releases.