Lewis Noble’s abstracted landscapes are heavily textured and reminiscent of rough rock faces battered by the elements from which he draws much inspiration. He captures the vastness of the Northern countryside with an energetic application of paint, portraying the turbulent nature and unsettled mood of our ever-changing British climate.
Deep, rich, earthy tones form the base of Noble’s palette. He entwines within his canvases the inquisitive nature of drawing, often scoring lines into his thick layers of paint, occasionally leaving a pencil line visible through a layer of thin wash. This only serves to complement the sense of urgency his free-flowing, painterly mark making creates.
Noble’s landscapes have a Brontë-esque sense of romance about them. He expresses the notion of feeling submerged within the awe of nature, capturing the enormity and power of our beautiful and sometimes harsh world. With a strong sense of wanting to understand and map the contours of his surrounding geography he will include characteristic features such as a dry stone-wall or a stile. This has the effect of both representing the insignificance and apparent smallness of man against the vastness of nature as well as offering us a form of perspective within an abstracted landscape.
Noble undertook a year long residency with Chatsworth House in 2008/09. He created a body of work in response to the grounds and the surrounding landscape. In an interview after the residency he commented that the English landscape was a production of human intervention and management and was therefore of a human quality. Noble also won the Vickers Award in 2001, taking up residency at four prominent locations around Derbyshire including Arkwright’s Mill in Cromford, Sudbury Hall in Sudbury, Chatsworth House and John Lombe’s Silk Mill, Derby.