Noah Stitt

Noah Sitt in conversation with Joachim Pissarro

Joachim Pissarro: The grey parts are kind of viscose, almost like a rhinoceros skin or something like that. But the top is very flat, very smooth—at least from what I’m seeing at least. Is that discrepancy what you’re looking for?

Noah Stitt: Yeah, they end up using a lot of layers. Every decision is kind of intuitive. So whatever is there before gets incorporated, whether it wants to be or not. Yeah, it’s a lot of mediums and mixtures. I used to be an oil painter for a long time, and then I came here and discovered the guerra paint store and have been kind of experimenting with mixing and making. I’m basically trying to merge the subjective and objective to a point where the line of separation between the two can’t be found. With humor, suspension, and specific ambiguity, they reach for a narrative reading of the image. Scenes are set wherein familiar ideas of rationality don’t apply, and connections and meanings between unrelated things become perceivable. I like to think of them as ‘narrative abstractions’.