Nathanson uses gels, decorative paper, and adhesives in combination with poured acrylic paint to create the support structure of her pieces—a formal play that points to the creation of the earth in the text."
[9] Critic Peter Malone described the process: "Completed with five or six overlapping translucent shapes created by pouring a prepared color along a line that has been drawn and masked, each painting reiterates a basic compositional pattern.
"[11] In The Hudson Review, Karen Wilkin wrote of a 2018 solo exhibition that "Nathanson's painstaking method demands close attention and enormous expertise, yet the resulting images never appear labored or calculated....
"[12] Critic Christina Kee said of the same exhibition, "the works seem to suggest a departure from color as a physically grounded phenomenon towards a powerful, though weightless, force acting upon us.
"[14] Whitehot Magazine critic Cori Hutchinson wrote that this "color desire" "tugs on the viewer as one's gaze travels across each work; the painter is uniquely aware of the somatic effects of art and its relationship to pulse.