“Long time DUMBO artist, Wynne Noble, is a potter, sculptor, teacher, artist extraordinaire. Over the years she has created work that’s appeared in many galleries, many high end stores, and has even participated in many DUMBO Arts Festivals. Meet the lady behind the wheel as DUMBO BID fellow Rachel Hamburger, sits down for a chat about art, the duality of nature, and Wynne’s pottery classes.
How long have you been in DUMBO?
Wynne Noble: I have been here for about 30 years now.
So you have seen the neighborhood really evolve over the years. How did you end up in DUMBO?
WN: Oh absolutely. I was working in Soho and then was priced out.
Have you always been interested in pottery?
WN: Always. My interested started as a young girl. I saw a potter making something clay and I said, wow! I want to be that magician.
What inspires you as an artist?
“Artists have wedged their canvases and supplies into their apartments. Others are working in hurricane-torn basements or in temporary, borrowed spaces. As their creative spaces have shrunk, so, too, has their art — if, that is, they still make art.
It’s been over six months since some four dozen artists lost their studios in Industry City, a sprawling factory complex on the Brooklyn waterfront. Many had spent decades hopping from studio to studio, from borough to borough. But according to interviews with over two dozen of the displaced, that practice of alighting in new, ungentrified neighborhoods has, at least for them, ground to something of a halt, hampered by a common refrain in New York: Rents are rising too fast.”
“Jose Arenas was one of dozens who had found space at the New York Art Residency and Studios Foundation, a nonprofit that rented a floor of Industry City and divvied it up into studios. “Open studios brought people into my studio space, which is something I miss working individually at home,” said Mr. Arenas, 42, who lost his Industry City studio and is working out of the apartment he shares with his wife and daughter in South Park Slope. “I don’t have that same sense of community.”
Margaret Withers is a warm, friendly and clearly gifted artist who I met on social media. Her work really has a fluid, organic quality that I love. We talked about Margaret’s work, life and what she thinks it’ll take to get more people inspired by contemporary art.
MICHAEL: Hi Margaret, It looks like you’ve conquered numerous genres with your work. However, I think I see a common thread. Is it a fascination with the organic or perhaps organisms? I’m sensing a “living fluidity” in your work. I don’t know. How do you see it?
MARGARET: Hi Michael, thank you for saying that, but I feel more like an explorer than a conqueror. I’m not fascinated with organic shapes or forms by themselves. I’ve tried to paint straight up abstract, but somehow the painting just feels incomplete to me. I’m not sure if this feeling of incompleteness stems from a lack of belief that the painting can stand on its own and that it’s interesting (to me) or if it’s from my own need to create a story and puzzle out of my cast of characters.
Even my earlier work, that at first glance, looks like only organic shapes, in reality isn’t. In those paintings, I made clay heads, cast them in bronze, set them in boxes and then pushed those boxes into the canvas. Or I just attached the clay heads directly to the canvas. The clay heads evolved into an oddly looking ‘chicken guy’, who then morphed into my 135 ‘guy’, which then evolved into a mouth with eyes, and now with my new time::second series (on canvas), he’s in the house or completely absent; on my works on paper he still around. It’s an odd evolution of a character that I still haven’t figured out. But this character is only half of the story because I also greatly enjoy playing with the physics of paint and the principles of color and texture. The color and texture can certainly be seen as a ‘living fluidity’ and in that regard, I do try to capture an internal earth or space.
Nola Romano for Arcilesi & Homberg Fine Art
Entering its 8th year, Fountain has sometimes been considered the more punk rock of
the art fairs. Initially because of the raucous parties and later hours, the fair has has
embraced this aesthetic by showing a collection of riskier work and new faces from
across the globe. In their words, Fountain is “the foundation upon which a whole
generation of working artists and galleries are able to engage the global art market on
their own terms.” There was strong sculptural work and a focus on Asian artists
throughout. Going along with the unique work displayed, the fair took place during
Armory Week in a beautiful armory of its own at Lexington and 26th st. Check out
some highlights below.
by Max Kauffman, posted on
“Do It Yourself and Do It Well at Fountain Art Fair”
” In a different but decidedly related vein, a work by Sophia Narrett at the booth of Arcilesi | Homberg Fine Art dismantled the idylls of a kind of Garden of Eden (whose overall shape vaguely resembles the US) with glee. Titled “An Origin of Dolls,” the piece made from embroidery, yarn, and acrylic is vigorously messy and frayed, its edges coming apart as if Narrett were still steeped in the process of creation.”
Fountain Art Fair NYC 2014 March 7-9, 2014
centrally located at the 69th Regiment Armory
See Jose Arenas in our new Show: