ORIGINAL AMORPHOUS FORMS, GEOM...
Original amorphous forms, geometric abstractions, imaginary architectures, non-functional apparatus in connection with the human figure are painted on flat fields of colour and grid constructions. Some components recur in a large number of his paintings: mechanisms replace parts of the body which seem to set in motion other technical instruments, sorts of amour who appear as protection for the figures themselves, fragments of the human body, historical or literary persons. Throughout his work themes with philosophical references are also repeated with variation of titles and depiction which reflect at the same time the intense interest in the ancient western history and philosophy.Through the connection between the technical instruments and the human body the dissolving conflict of nature and technology becomes obvious: the individuals are restricted in their free decision, the direct way is prescribed. Beside that it is doubtful how the machines – that is the humans – could be put in motion; it is also sceptical if it is the machine or the figure itself who gives the impulse. This alienation leads to a passivity concerning the self-guided history and the ontological view of how world is or the deontological how world should be does not longer exist.
Nader's diverse paintings in which formal reduction is connected with accumulation of meaning create a tension which cannot be solved. The viewer is asked to rethink the possibility of "past" thinking rescuing in altered circumstances.