Artist Registry


The White Columns Curated Artist Registry is an online platform for emerging and under-recognized artists to share images and information about their respective practices. The Registry seeks to create a context for artists who have yet to benefit from wider critical, curatorial or commercial support. To be eligible, artists cannot be affiliated with a commercial gallery in New York City.




To apply to the Registry, click here. Join our mailing list here to receive our open call announcement and other programming updates. For any further questions about the Registry, please contact us at registry@whitecolumns.org.

a → d e → h i → l m → p q → t u → x y → z


Lisa Armstrong Noble
Alexandria VA US
Updated: 2025-05-23 15:59:56

STATEMENT OF WORK

I paint to learn. My process hinges on exploration and the resulting development of my skills and understanding of materials.

In my current work, I start by sketching with graphite or ink on big pads of newsprint, thinking largely about a certain feeling or inclination that has been brewing inside me. I allow my lines to guide me, not thinking about the aesthetics of their placement. After several iterations, I move to canvas and begin by echoing the most pleasing aspects of the preliminary sketches, with the aim to find early balance and harmony.

I usually work in a single session if time allows because paint behaves differently on the first day than any other day, and I prefer those first results. So, I try to work quickly, which also frees me from thinking too much about what I will do next.

I consider the areas where lines intersect and what negative or positive interplays these could create. I like to establish a visual foundation of rhythm, push, and pull. Then I can bring in different colors of varying viscosity, from thick impasto to highly fluid, transparent, and dripping. I like to scrub, stroke, smooth out the paint, and draw with it. I like the undrawn line that a screwdriver or bamboo skewer make. The reductive process of Sgraffito brings a patterned, decorative, and gendered sensibility to my compositions.

Ultimately each work is a physical record of my experimentation—a visual documentation of the choices and risks that lead from one discovery to the next decision as I learn from one painting to the next.