Patrick Noe on Oregon Art Beat

Vineyard Woman

Tune in this Thurs­day to watch Ceramic Show­case artist Patrick Noe on Ore­gon Art Beat on OPB at 8pm, PST.

patricknoePatrick’s art involves mak­ing impres­sions on clay slabs using wood­cuts, stamps & found objects. His hand-sculpted detail­ing and metic­u­lous paint­ing style makes each work of art truly unique.

My father met my mother in France dur­ing World War II. He was a young Amer­i­can GI and she a beau­ti­ful 19 year old French woman and after a mostly long dis­tance courtship they mar­ried in the US. In 1953 I was born in Tacoma Wash­ing­ton as the mid­dle child of seven chil­dren. My father was an Air Force offi­cer and we moved with his assign­ments around the coun­try.

My larger desire is to give relief to our busy con­tem­po­rary lives by rep­re­sent­ing, in some way, the slow time­less beauty of old, so that we make our own sub­tle con­nec­tions as to how the past influ­ences our present.

By the time I was seven my fam­ily moved to France where my father was sta­tioned as an Amer­i­can liai­son offi­cer. My mother imme­di­ately set out to immerse us in French cul­ture, so we lived in the city of Nancy, went to French schools, I was in the French cub scouts, and had only French friends. In school I had a love of Euro­pean his­tory and archi­tec­ture – after all it was all around me, and I drew pic­tures of build­ings and his­toric events. Our fam­ily began speak­ing and think­ing in French and I acquired a love for the Old World that never left me.

In 1998 my Father offered me the tools that he had been using for mak­ing mar­quetry. Mar­quetry is an old art form which uses inlaid wood to make art in pic­ture form and in fur­ni­ture. This led me to think­ing of mak­ing wood­cuts that could be used to make impres­sions in clay.

My tech­nique has evolved and starts with draw­ings from which I make a wood­cut that when pressed into clay makes a flat relief rep­re­sen­ta­tion of the orig­i­nal draw­ing. I then paint the clay piece with ceramic stains and col­ors that are fired in my kiln at 1940 degrees Fahren­heit. All the work is done on clay before the fir­ing from the many impres­sions I make with wood­cuts, tools and found objects, to the painting.”

Stop by Patrick’s booth at Ceramic Show­case, see his work in per­son (it’s truly beau­ti­ful), and say Hello! Booth B5

 

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