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Artist
Gregory Noblin Norcross, Georgia

The panels devised by mixed-media artist Gregory Noblin are steeped in fable and fantasy. Gregory closely connects his subject matter with childhood, and turning imagined stories into a visual reality. When he envisions a scene, he begins by photographing the elements needed to construct the image and combining them in Photoshop. He then cuts and assembles the piece by hand, adding further details with watercolor, tempera, and acrylic paint. “The physical nature of the work is the intentional effort to make it look vintage and worn,” says Gregory. The final images are at once whimsical and surreal, each with an underlying metaphor or meaning.

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    About The Artist

    The panels devised by mixed-media artist Gregory Noblin are steeped in fable and fantasy. Gregory closely connects his subject matter with childhood, and turning imagined stories into a visual reality. When he envisions a scene, he begins by photographing the elements needed to construct the image and combining them in Photoshop. He then cuts and assembles the piece by hand, adding further details with watercolor, tempera, and acrylic paint. “The physical nature of the work is the intentional effort to make it look vintage and worn,” says Gregory. The final images are at once whimsical and surreal, each with an underlying metaphor or meaning.

    Artist Statement

    Memories, fantasies, daydreaming, and imagination were my playground as a youth. Childhood was a time where I could simply daydream and imagine far out wonderful things. Feeling I had lost some of the whimsical freedom of childhood imagination, I began an exploration into these daydreams, the imaginary impossibilities. And as a result I’ve found these suppositions to be a bridge between childhood fantasy and adult “reality.” Daydreams and impossibilities are commonplace in my mind. When a scene or story jumps into my consciousness I am compelled to collect source material. Once all the images are digitally cut and the vision I had in my head begins to emerge on the screen, I become elated. When I see with my eyes what I saw in my mind there is a connection I make to my childhood memories of imagination. Even then the image needs a soul. Using textures in my images helps me connect with my past imagination. The use of texture gives me a sense of nostalgia, inviting warmth, intrigue, and breathes life into the pictures. With this in mind I wanted to add more texture to a finished print. The application of gel medium to a flat print further developed a connection between the image and myself by making the textures more alive and the story more real. These textures also create a sense of longevity through a vintage sensibility. I incorporate a method of tying the organic and the rigid together by stitching together smaller prints in a grid to create the larger organic form of the story in the image. By using this method each piece is a creation of natural organic forms and textures juxtaposed against a constructivist grid -- a process I call Panelism. The result is a meshing of the artificial and the organic. This process also ties together a repetition of taking elements to create scene, building that scene, printing it, then cutting it up and physically reconstructing the scene once again. Still there needs to be some level of struggle to represent life experience. This is why there’s a subdued and often obscured sense of something unresolved and unsettling within many of the images. While some seem free and whimsical, there are things left to outside forces. Others express the desire for independence or a battle to overcome something. These are expressions of experiences we all share, a commonality. This shared experience allows the view to place their own meaning into much of the work. Creating photographic illustrations reconnecting me to my childhood imagination has brought a new level of freedom. These images send me to a far out place where I can escape reality for a while and be a child again and serve as a reminder that not everything is as whimsical as they seem on the surface. They allow me to travel where there are no rules and anything can happen.

    Artist Background

    The Art Institute of Atlanta
    Bachelor of Fine Arts, 2010

    Acrylic Glass Print

    Archival photographic print face-mounted on the back of .25" thick acrylic glass. The high gloss acrylic enhances the depth and vibrancy of the image, and has polished edges. Comes mounted on wood so the piece stands off of the wall half an inch for a contemporary look. Includes a certificate of authenticity on request, and arrives wired to hang.

    Aluminum Print

    Archival, high gloss print on 0.05" thick aluminum. Aluminum prints are lightweight and durable. Comes mounted on wood so the piece stands off of the wall half an inch for a contemporary look. Includes a certificate of authenticity on request, and arrives wired to hang.

    Canvas Print

    Gallery-quality giclee print on stretched canvas with 1.5" thick edges, and edges are finished white. Includes a certificate of authenticity on request, and arrives wired to hang.

    Framed Fine Art Print

    Archival photographic print on heavyweight, acid-free, soft gloss paper in a wood, white, or black frame. Features a 1.25" white border around the image. No matte. Acrylic glass front gives a crystal clear view. Includes a certificate of authenticity on request, and arrives wired to hang.

    Hear What Collectors Say About Gregory's Work

    Gregory Noblin 6/3/2018 | 9:43 AM

    It really depends on what it is. I've found it's difficult to match the vision in someone else's mind with my methods. For example, someone has an idea of a complete picture in their mind. In that image there's a bicycle. If I cannot find the exact bicycle they have envisioned then the image isn't right. If the commission is more vague with some general guidelines it opens everything up a bit. If you have some general idea or specifics on the concept you have in mind I could give a more definitive answer. In the past, the only commissions I've done are another piece of an existing one but in a greatly different size or orientation.

    commentsWar of the Roses
    K Witsoe 6/2/2018 | 7:58 PM

    Do you do commissioned artwork?

    Gregory Noblin 3/16/2018 | 10:50 AM

    Thank you so much! I'm glad you enjoy it.

    E Wilkinson 3/15/2018 | 9:43 PM

    Set Sail comments: looks amazing! Thanks again for the fast turn around time, can't wait to show this off at our new place! I've always loved contemporary surrealism set in nature.

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