Nabilah Nordin







Primary Matter
Parrasch Heijnen, Los Angeles






(1) Vocabulary, 2024
rubber, epoxy modeling compound, urethane colorants, wood
80 x 82 x 20 inches

(2) Vocabulary (detail view)

(3) Ghost, 2024
wood, epoxy modeling compound, wire mesh, automotive paint, solvent
70-3/4 x 42 x 32 inches

(4) Ghost (detail view)

(5) Chronology, 2024
powdered marble, limestone, oxide pigment, sand, epoxy modeling compound, wire mesh, wood
62 x 33 x 32 inches

(6) Chronology (detail view)

(7) Scaffold, 2024
acrylic polymer, celluclay, epoxy modeling compound, wood, wood stain
33 x 23 x 25-1/2 inches

(8) Scaffold (detail view)

(9) Luster, 2024
pyrite dust, pyrite, diamond flakes, sand, wood, wire mesh, epoxy modeling compound, varnish
32 x 20 x 19 inches

(10) Luster (detail view)

(11) Archive, 2024
oxidizing iron paint, epoxy modeling compound, wood 29-1/2 x 17 x 23 inches

(12) Archive (detail view)

(13) Gathering, 2024
exterior epoxy modeling compound, marble chips, copper coins, turquoise stone, foam, wood, pigment, marine sealant, oxide, cement
106 x 43 x 62 inches

(14) Gathering (detail view)


Exhibition Statement
July 13 - August 10, 2024


PRESS RELEASE

Parrasch Heijnen is pleased to present Nabilah Nordin: Primary Matter, the gallery’s first solo exhibition with Los Angeles, CA-based artist Nabilah Nordin (b. 1991, Singapore).

Nordin’s sculptures dance with gravity and an internal buoyancy that evokes the process of their creation. The artist’s organic yet constructed forms unfurl, topple, grow, and balance, as each work’s uniformity in color is juxtaposed in a vibrant assemblage of shapes, meditating within a lyrical solidity. Nordin’s works are adorned with a texture implicative of an internal life, combining elements of raw earth with new world materials, blurring the lines between the natural and the manufactured with “skins” that adapt to their given environment. Her process is an investigation of surface and material: “the pretense of how things appear: what may look like a stone object, or a rusted chunk of metal is actually the ‘skin’ pretending and performing as something else,” she explains.

“I want my sculptures to seduce people with the tactility of their physical qualities - a sharp prick of pyrite; the crunch of stone under foot. I want to trigger a desire for material sensation and to make people hyper-aware of their bodies. I try to do this by animating commonly found raw or artificial materials, from rubber mulch to stone and marble, and transform them into new life-forms. This is the spirit of Primary Matter.”