About the Artist
A recent student of The Manchester School of Art, Georgia Noble graduated in 2015 with a First Class BA Honours in Fine Art.
From her degree show work, she won two purchase prizes from the university and was selected to participate in The Curwen Gallery’s ‘Northern Graduates’ 2015 summer exhibition in London.
Whilst studying in Manchester, Georgia exhibited in shows around the city, including ‘Alchemy’ at MadLabs in the Northern Quarter and ‘IST KUNST ISM’ at Federation House, a New Art Space promoted by Castlefield Gallery.
After graduating, Georgia returned home to Blackpool for one year to continue her practice. During her time back in her hometown she exhibited as part of Abingdon Studios’ ‘Test:bed’, a show in association with ARTCOP21 Paris and featured in The Lucky Jotter’s 8th exhibition and showcase.
Georgia was then selected by chief curator and director of Saatchi Art, Rebecca Wilson, to appear in their 2016 ‘Invest in Art’ initiative and is regularly featured in their online collections.
This platform also led to artist features in the independent magazine ‘Fresh Paint’ and in Archive magazine’s 2017 ‘The Earth Issue’.
Georgia has recently moved back to Manchester to live and works from her studio at AWOL in the Ancoats.
“In my practice I aim to transcend the conventions of traditional landscape painting in order to present the viewer with a sense of space that, through both expressive mark making and the thin layering of oil paint, goes beyond the physical and real to evoke a sense of somewhere ‘other’.
I use both suggestive and expressive marks, combined with a varied palette to allude to the natural environment in attempt to capture and represent the energies and forms it possesses. Familiarities found within the paintings provide the viewer with a sense of stability and recognition with the world they are accustomed to, while the more abstract formations deliver a sense of escapism.
It is my aim that the work provokes questions of the metaphysical and hints at the sublime, challenging preconceptions of our existence within nature and addressing our inferiority and mortality in relation to it.
The paintings themselves are made in response to my own experiences and relationship with the natural environment and, painting impulsively, I let this be the source that I work from and build my compositions through methods of abstraction to create a final image that is often free from formal structure and is open to interpretation.”