Texts

Writing

Reviews/ Catalogues

2016  Flatland (curated by TimEllis), Fold Gallery, Saturation Point
2015  Reflections, Eagle Gallery, Published on the occasion of Natalie Dower’s Reflections, Text Laurence Noga
2015  Glyph Graph, Ian Monroe, Horatio Junior, Saturation Point
2015  About Now, Paintings and Prints, Bernard Cohen, Flowers Gallery, Saturation Point
2015  Studio at Fold Gallery, Dominic Beattie, Saturation Point
2015  Time of Day, Eagle Gallery,Trevor Sutton, Saturation Point
2015  Generator,Saturation Point Projects, Kaleidascope Gallery Sevenoaks, Saturation Point
2015  Adventures of the Black Square,Whitechapel Gallery, Saturation Point
2015  Seeds and Syntax, Eagle Gallery, Julia Farrer/Mandy Bonnell, Saturation Point
2015 Seven From The Seventies, Flowers Gallery, Saturation Point
2014 Chance and Order, Eagle Gallery, Saturation Point
2014 Fine Line, Austin Desmond Gallery, Saturation Point
2014 Tricking Yourself, Saatchi Gallery, Fold Gallery, Finbar Ward, Saturation Point

Interviews

2016 Interview with Michaela Zimmer, Laurence Noga Kerstin Mey, Saturation Point
2015 Interview with Simon Callery, Laurence Noga, Saturation Point
2015 Interview with Richard Caldicott, Laurence Noga, Saturation Point
2015 Interview with David Oates, Laurence Noga, Saturation Point
2014 Interview with Estelle Thompson, Laurence Noga, Saturation Point

 

Artist’s statement

Recent work offers an interpretation of the in-between, using a dialogue between in control or out of control. Keeping faith in materiality. Poured enamel touches matt rolled acrylic. The eye moves across the divisions of colour, exploiting the visual problem of focusing simultaneously on converging tonally dazzling colour, whilst elongating and compressing the composition, allowing intuitive events to collide in a frontal approach.

The focus is on both an inside and outside space, pushing colour into luminous states of spatialisation and ambiguity. Activation of memory, genetic, collective or individual are key to the paintings phenomenology. Shifts in scale both micro and macro, allow a psychological and retinal stimuli for the spectator.

Each painting can be layered with acrylic, enamel, oil. Each area is often applied with a different brush or roller ,or poured to allow chance. The physical and plastic qualities of the painting highlight the in- between and object quality of the work; the colour and detail drawing you in to the surface facture.


Peter Ashton Jones on Laurence Noga’s Deep Pink Filtered Silver

“The free-hand of the drawing, the layering of the painting, the contained release of the vertical bands of paint in contrast to the open field of disbursed paint, and most of all the exactness of the colour relationships, create a depth of field that is seen through the surface of the ‘painting’. There is a sense that a shadow or ghost of some thing or object is in the painting, not lying behind, not pushing to find a figurative form, but more as a signifier for the act of the hand.”
Approaching the In-Between – Nancy Cogswell & Laurence Noga – critical essay by Peter Ashton Jones, co-Editor of Turps Banana

That’s Not What, curated by Laura Moreton-Griffiths

“Laurence Noga’s pictures are developed from collages; preparatory drawings, made from exhibition invitation cards, overlaid in vertical strips in a panoramic format. The work questions a notion of the in between…freezing a moment in time. The surface materiality emphasises a process of being simultaneously in and out of control, working with enamel, acrylic, and powder pigment; applied with a brush, roller or poured; the pictures narratively reveal their history. Offered up to chance and exposed to risk, in the making, the paintings are not always seductive but jar or create a dialogue that plays on the mind and the eye to impact on the emotions.”
Laura Moreton-Griffiths

Bibliography & Press

2012   Intuition anti Intuition: Game and play: Lion and lamb Gallery London – Andy Parkinson
2012   First come first served Lion and Lamb Gallery London – Andy Parkinson
2011   Approaching the In-between–  Peter Ashton Jones, Co-Editor Turps Banana
2011   Approaching the In-between, Laurence Noga & Nancy Cogswell – Art Rabbit
2008  Perpetuum Mobile  APT Gallery London
2008  Re: Inventing – a collaboration between Wimbledon College of Art, ING, and the National Maritime Museum
2003  ColourSpace, Time Out
2002  B Magazine – Laurence Noga: Art in the Studio
2002  SW Magazine: Bettie Morton Gallery
1998   Robin Dutt & Richard Dyer on Dinosaurs’ Blood
1994   Iain Gale, The Independent
1993   Angela Sommerfield, Royal Academy Magazine
1993   Art Review
1992   Robin Dutt, What’s On