Autumn Grid (Viscardi), November 2013 - Acrylic pigment dispersion and enamel on canvas

This is a unique piece

  • Artist Wolf Noam Ben
  • Category Abstract paintings
  • Creation year 2013
  • Dimensions 96.5 x 142 cm
  • Technique Acrylic pigment dispersion and enamel on canvas
  • About

    Ben Wolf Noam makes paintings and installations that draw together the natural and the digital, by projecting the forms of local foliage onto the two-dimensional space of the canvas. The surface of his painting is further flattened through the use of processes that recreate gradients and masking. The paintings reflect the outcome of a decade of research into processes that reinterpret digital image-making techniques within analogue media, translating the tools of Photoshop—gradient fills, stamps, and alpha layers—into forms of painting. By using plant foliage, Wolf Noam physically engages with the specific locations in which he works—social and physical spaces, climate, and geography— and embeds a local imprint onto his work, using the foliage like he would a brush or a piece of charcoal.

    Through the foraging process, he explores the local environment and the ways in which nature serves as a unique backdrop to the social life of a city. The process originated when Wolf Noam pulled down the ivy climbing the walls of his Bushwick studio and has served as a motif that carries throughout successive bodies of work while evolving to reflect the locality of the paintings’ production. Recent paintings from Los Angeles use plants from the banks of the LA River to engage with the contemporary meaning of this notorious and troubled river, its ebbs and flows as California faces the worst drought in its history. "

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Wolf Noam Ben

Ben Wolf Noam was born in Cambridge, MA, in 1987, and received a B.F.A. from Rhode Island School of Design in 2009. He has exhibited throughout America, Eu- rope and the Middle East.
Though his paintings pay homage to the landscape and art history of Southern California, Ben Wolf Noam developed the process for his signature foliage paintings while on the East Coast. Newly graduated from the Rhode Island School of Design, he began pulling ivy from the walls of his Brooklyn home and transposing it onto paintings to signify the struggle between weed and architecture. Nowadays, Noam collects foliage from the Los Angeles River, an ecosystem famously strangled and stunted by concrete. He lays his findings out on a canvas, which he sprays with color gradients that evoke the visual language of digital image making, layering masks so that the flora creates imprints. In his exhibitions, Noam stretches out his two-dimensional images into columns, geodesic domes, and other architectural forms. Noam’s latest work, inspired by the Dadaist tenet of simultaneity, blends his paintings with richly detailed photographs of rush-hour traffic on LA’s freeways.

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