Sherman Nobleman: Curiosity, period.

Under a crayon-blue sky, I journey to Canyon Road in Santa Fe to view the work of Sherman Nobleman.

Upon entering the gallery, I am initially struck by the scale of the work, each canvas occupies a slightly larger space than I expected. "Burnished Series 80" drew my immediate attention, a silvery-cold, seemingly minimal, rather austere work of art.

With each step forward, preconceived notions evaporate; the veneer temporarily dissolves. At a pen's distance I perfect both the squat and the tiptoe while losing myself in Nobleman's mastery. From here one can feel tactile warmth, as tones turn golden. At this intimate proximity I witness layers upon laborious layers, miles of doting. Fine fissures echo fragility while folds and gathers create motion, mimicking the untamed choreography of grass in wind. I envision
a pre-storm bluster whipping through Nobleman's studio.

As I back away, a rich winter landscape emerges, weighty snow obscuring a deep forest with illusions of a horizon. The "Burnished Series" plays with light and proximity, the combinations are endless. Nobleman's work is immediately simple, yet infinitely complex.

Following my visit, I painstakingly structure my interview questions, and telephone the artist in St. Helena, California; it's afternoon.

Nobleman is a veteran of the arts, with a 30-plus-year career. He speaks fluently of his work while boasting an unassuming, yet impeccable, education in the arts and a stunning resume. He effortlessly answers nearly every question I labored over.

How is one able to achieve three decades as a career artist? Nobleman answers without pause, "curiosity, period." "I have to create; the impulse has become a priority." He likens me to his son as he continues, stating, "my son asked me once, 'daddy, where does inspiration come from?'" "If I knew that I would be wise," Nobleman replied. Each painting series is an extension of the preceding body of work. It is an evolution, incorporating threads of layers that are visible and those that exist just beneath the surface. One concept built upon the next-from past works of immense color to current studies in sublime grace-becomes the ongoing creation and solution of a mystery. Clearly process oriented, the work reveals immediacy and spontaneity. These are not classic painting techniques, but rather intuitive and experimental gestures. The artist is ultimately searching for elegance; the desired outcome is visceral, not precious. Truly mixed media, the enriched surfaces combine gold, silver and bronze powders with, often uncontrolled, applications of paint, scrims, screens, tape and velum.

The ongoing theme is duality, freedom and structure. Freedom is critical in Nobleman's process, however the result must be a complete composition. The artist reveals, "through chance I am often surprised by the result." Many painters say there is no accident in their work, while Nobleman admits, "I am structured to allow for surprises; I never want to get to a place where I know the outcome before I begin." Helen Frankenthaler stated, "you have to know how to use the accident, how to recognize it, how to control it, and ways to eliminate it so that the whole surface looks felt and born all at once."

Cy Twombly is cited as a primary inspiration, an influence that is evident in Nobleman's gutsy paintings. Twombly's work is notorious for its wild freedom and lack of viewer relation. Twombly allows a certain breath, or space, to exist, exhibiting no need to fill every aspect of the work. Nobleman structures his
process to allow for the same freedom.

I come upon this statement by Nobleman, "·allowing something to be not quite perfect, slightly disturbing, but not confrontational." I ask the artist to address this quote by relating it to a life situation. Quickly equating his statement to relationships, he says, "they are never really perfect, are they?" "This lack of perfection creates lasting excitement, maintaining our interest·nobody wants a simplistic relationship." Nobleman continues, "cleaning up everything results in a boring painting·life and art are found in nuance."

I strongly encourage everyone to view this work in person; it is well worth a stunning stroll down Canyon Road.

Sherman Nobleman's work is on permanent exhibition in Santa Fe, New Mexico at Patricia Carlisle Fine Art located at 554 Canyon Road. His work will be featured in a solo exhibition this August.

by Samantha Paige Furgason