Early Oil Painting

I was always drawn to wood and having a wood working studio while living in Colorado that had plenty of scraps around only increased my desire to use wood in my paintings. The most amazing part I've since found, is that having painted on wooden panels that expand and contract over time, intricate spider-web cracks in the surface of the dried paint have appeared. Now, each crack has increasingly exposed separate layers of color, each color from a separate layer of glaze that was applied.

I should also say that this period was primarily concerned with focusing upon unexpected contextualization engendering humor or a tongue in cheek kind of foreplay, setting the stage for the utilization of conceptual layering in terms of context, materials, and the handling of these ideas with the addition of time as it relates to decay (for instance in Blowfish the frame was meant to look as if it had been shipwrecked and then fished out of the sea). In essence, each work speaks to its inception, creation, and the duration of its existence.

This is why, I believe, I am so preoccupied with the cracks that have formed in each painting—it's as if each work is a performance unto itself. I have, however, lost touch with many of the collectors that own these works, so am currently unable to access them for further documentation; but, one in particular stands out (the Funky Chicken, in the collection of my mother-in-law), as it resides here, in Israel, in my town, and happens to be hung over a cook-stove, which has inflicted all kinds of mayhem upon its surface!

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