Natalie Dunham

Natalie Dunham is a sculptor and installation artist based in Daytona Beach, Florida. She works with simple materials and basic forms, repeating the same elements again and again as each piece takes shape. Her studio days follow a strict routine, with the space cleaned, tools prepared, and long stretches of focused work once she begins. She doesn’t title her works, but numbers them, using this system to keep track of when each piece was made and how it developed over time.

No. 4.216.1_Al [N] - Aluminum and steel, 2019

Q: You describe your practice as process-driven. What does a normal studio day look like for you?

A: My time in the studio varies from day to day. Sometimes I work 18–20 hour days for weeks straight, and other times I may only stay a few hours or take off consecutive days. My artistic process consistently incorporates elements of play, problem-solving, and meticulous cataloging of my materials. Before I begin work, I always ensure my studio is clean and reorganized from the previous workday, and the intended materials and tools needed for the day are prepped. I always have music or the TV playing in the background. Windows and doors with screens are always open when it’s not too hot, and the blinds are open for as much natural light as possible. This carefully curated environment is crucial for my productivity and focus.

Q: You work with basic geometry and line. What keeps you coming back to these forms?

A: I see my sculptures and installations as three-dimensional drawings, formed through the accumulation and repetition of line, much like the pen strokes in my sketchbook. I am consistently drawn to basic geometry because it conveys a sense of order and harmony. These fundamental elements establish structure within my works, and the simplicity of these forms provides a blank canvas for complex interpretations, inviting viewers to engage with the work on multiple levels.

No. 4.526.13_S [ CC ] - Wood and metal, 2025

Q: Each work is numbered. How did this way of naming your works start?

A: I first started using numerical titles in 2010. As a process-based artist, I struggled with titling my works early in my career, repeatedly using “Untitled” on my labels. During exhibitions, I was frequently asked about the number of individual pieces of material in each work. This prompted me to start documenting my materials, which quickly led me to assign numerical titles to my pieces. Each number serves as a marker in my artistic evolution, providing a chronological framework for my body of work.

The numerical titles not only allow me to track the individual elements used but also document the materials, finish, and quantities required to replicate a piece of that size. This practice is invaluable when creating commissions that use the same or similar materials.

No. 1.719.5_RSV [ N ] - Ripstop vinyl and wood, 2025

Q: What makes you choose the first material for a new piece?

A: My choice of material for a new piece often stems from an intuitive response to the composition I want to explore. I consider the material’s characteristics—its texture, weight, pliability, and how it interacts with light. Sometimes, I might be inspired by a specific pattern or environment that suggests a particular material. Ultimately, I look for the right fit for the concept, which can lead me in unexpected directions as I begin to work.

Q: Your work moves between raw material and refinement. How does that change show up while you’re working?

A: The transition from raw material to refinement is a reflective process that unfolds organically as I work. I often start with the raw material, allowing its natural qualities to guide the initial stages of creation. As the piece develops, I become more deliberate in my refinements, focusing on balance, detail, and the overall aesthetic. This shift is evident in how I handle the materials, signaling a move from exploration and intuition to a more focused, curated approach.

No. 16.8512.11_CF [ N ] - Metal and carpet fiber, 2018

Q: Your practice works against speed and instant results. What are you working on next?

A: I have been revisiting works I created 10 to 20 years ago. With that distance, I have found new and exciting potential. Recently, I recycled a sculpture I originally completed in 2007. At its new size of 19” × 14” × 7”, it is now a quarter of its original dimensions, making it one of the smallest sculptures I have created. However, it features the most individual elements of any of my works: 49,489 black broom bristles.

The process of accumulating so many small pieces made it challenging to envision the final composition at first, and I could not disassemble the sculpture because of the adhesive I used in its construction. I was nearly halfway through the materials before I fully realized how I needed to complete the work. I would have continued working on it had I not run out of material. This experience pushed me to explore challenges beyond those I typically encounter in my practice.