Originally from Blackpool, Georgia Noble is an artist that now lives and works in Manchester UK, after graduating with a First Class Honours Degree in Fine Art from The Manchester School of Art in 2015.
Upon leaving university, Georgia went on to show her work at Soho’s Curwen Gallery in London as part of their annual ‘Northern Graduates’ exhibition and shortly afterwards was selected by Saatchi Art’s Chief Curator and VP for Art Advisory, Rebecca Wilson, to feature in their 2016 ‘Rising Stars’ initiative, where they shine a spotlight on a small handful of emerging artists each year.
Since then, Georgia has gone on to continue to develop her practice and works from her studio as part of AWOL Studios in the historic Hope Mill in the Ancoats and sells her work all around the world.
“Through the predominant use of oil paint, my artistic practice transcends the conventions of traditional landscape painting to invite the viewer into a constructed fictional space that encourages them to interact with the composition in a way that is unique to them. I refer to my artworks regularly as ‘abstract landscapes’ - a phrase that seems highly contradictory - yet fully defines my painting process as, once resolved, each is most likely to be interpreted as a form of landscape but has been constructed through explorations and methods of abstraction.
The sense of ‘somewhere other’ is represented through a bold and colourful palette, as well as varying techniques of careful blending, expressive mark making and deliberate scraping back into layers of paint underneath to create a narrative that allows for fluidity between the foreground and background.
Furthermore, there is often an omission of clear structure or a definite horizon line in my work, given the abstract origins of each piece. However, as I progress further into a painting I use suggestive and expressive marks in a more thoughtful and conscious way to allude to aspects of the natural environment. These 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, resulting in my work being caught somewhere playfully between the two.”