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Artist Exhibitions:
Curriculum Vitae
Education
1986-1990 Studio Art/English
The University of Alabama at
Birmingham
Awards
* 2001 Award of Excellence,
awarded by The University of
Alabama at Birmingham
Women's Studies Program
* 2000 Merit Award Art's Alive
Gallery Competition,
Kennedy-Douglass Center for
the Arts, Florence, Alabama.
Jurors: Kaywin Feldman, ...
Further Information
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Artist Galleries:
Bare Hands Gallery
725 29th Street South
Birmingham, Alabama 35233
Contact: Jessica Helfrecht -
vox and fax 205-324-2124
e-mail:
barehands@mindspring.com
iTheo.com
326 Fell Street
San Francisco, CA 94102
Please visit this online
gallery to see more of Tracie
Noles-Ross's work.
You can also ...
Further Information
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Artist Reviews:
Coming Soon!
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Collections:
Coming Soon!
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Commissions:
Coming Soon!
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Artist Statement for Tracie Noles-Ross
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Artist Statement
Stylized figures, paint, repetitive patterns and symbols tell my stories and connect me to the outside world. I find this a more effective method than a linear language made exclusively of words. I develop autobiographical narratives that shift from the direct nature of verbal language to the more tactile basis of material language using objects from my environment and a visual basis of reading figurative gestures and facial expressions. The way that these objects and figures interact creates a more circular, visual narrative rather than the more linear structure of a written or spoken text in an attempt to create a more universal experience.
As far as my symbolism goes, there is no code key. Their definitions are determined by their context. Some are universal and others are more obscure and determined by personal experience. Individual objects within the series, within the installation as a whole, are epigraphs. They are literally cut out of life and placed within a certain context to suggest a theme or tone. For me a work of art is directly linked to the secret. I try not to reveal too much, to divulge everything, to unveil too much. In order to be touched by a work of art, it must first refer to the person who made it and then connect with the collective so I give small clues.
I expose my intimate life, my difficulty with living as a woman and as an artist, my work and my body. All this is interwoven, formally and personally. As a woman artist, my work is looked at through my cultural position. I walk thin lines when I incorporate my emotions or processes that have previously been categorized as domestic and not artful but I try to remain true to my personality and my obsessions as well as my formal art training and I make every effort to make an object, --an installation, --an experience that connects in some way with anyone that takes the time to look.
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