he/him
Noah Wertheimer
TELLING STORIES
In the unfolding of narratives, where does the image belong? Through perspective and framing does the image become fixed? Does the architecture of an image limit the ability for the malleability of narrative? How can we create images that tell multiple stories?
That is not to say that the image is in any way subservient or subsequent to narrative. The image shapes language. The very vocabulary from which the narrative is built is derived from the impulse for confirmation. From one to another. That what I see is also what you see.
Constantly caught between conveyance of perspective in an image and the construction of vocabulary through it.
Stories bleed into one another. From mythology to history, through icons to uncertainties.
less of the story and more of the storyteller.
The debauchery of a late-night card game awakes to find the redemptive poppy. The moment of sexual discovery runs itself into fascist iconographies that shape the way we determine the attractive and beautiful. The siren song leads to dismemberment and cannibalism. Only to find the song again beautiful and redemptive.
The work dismembers itself. Through collage, through paint, the narrative unworks itself. Unraveling and beginning again elsewhere. Horrific and hopeful.
Amputation at Austerlitz, 2024.
Oil on canvas and panel, 48 × 48 in.
The Sirens. 2024.
Oil on panel, fiberglass and plaster, 48 × 48 in.
Eichmann in the Nymphs Garden. 2024.
Oil on panel, 48 × 48 in.
The Lovers. 2024.
Oil on Panel, 48 × 48 in.
Poker Night, 2024.
ADD MEDIUM, 36 × 60 in.