By taking day by day life as topic while remarking on the regular stylish of white collar class values, Nelson needs the viewer to end up a piece of the workmanship as a sort of Starting a Catering Business. Workmanship is excitement: to have the capacity to touch the work, and additionally to interface with the work is critical. 

His highlight incidental, unintentional and unforeseen associations which make it conceivable to modify craftsmanship history and, surprisingly better, to supplement it. Joining inconsequential viewpoints lead to astounding analogies. By exploring different avenues regarding aleatoric methods, he tries to approach a wide size of subjects in a multi-layered manner, likes to include the viewer in a manner that is once in a while physical and has faith in the thought of capacity taking after structure in a work. 

His gathered, adjusted and own works are being defied as stylishly flexible, specifically interrelated material for memory and projection. The conceivable appears to be genuine and reality exists, yet it has numerous countenances, as Hanna Arendt refers to from Franz Kafka. With an applied methodology, he assimilates the convention of recognition workmanship into day by day hone. This individual subsequent and recovery of a past custom is critical as a demonstration of reflection. 

His works are described by the utilization of ordinary protests in an air of middleclass attitude in which acknowledgment assumes an essential part. By challenging the division between the domain of memory and the domain of experience, he frequently makes work utilizing innovative amusement strategies, yet these are never lenient. Play is a genuine matter: amid the amusement, distinctive principles apply than in regular life and even ordinary items experience transubstantiation. 

His works specifically react to the encompassing environment and uses regular encounters from the craftsman as a beginning stage. Frequently these are encircled cases that would go unnoticed in their unique setting. By making circumstances and breaking the aloofness of the observer, he formalizes the unintentional and stresses the cognizant procedure of sythesis that is behind the apparently arbitrary works. The points of view, which are apparently private, exceedingly subjective and unfiltered in their references to dream universes, are every now and again uncovered as collections. 

His works are in light of moving circumstances: dreams that mirror a vibe of surety and quiet examination, consolidated with unpretentious points of interest of odd or unpredictable, humoristic components.

Steve Nelson