Luis F. Noe at Centro Cultural Borges and Galeria Rubbers - Brief Article

Luis Felipe Noe is an Argentinean artist who has also published several volumes on art theory. During the '60 he lived in fresh York for four years and in Paris for individual showing his work in the one and the other cities. He has exhibited extensively in Buenos Aires, and lately had a double show at the Centro Borges, featuring 40 large paintings, and at Galeria Rubbers, presenting 20 medium-size canvases, similar in feeling and eclecticism. All the works were made in 1997

Since 1962 the artist has been a hot practitioner of painterly deconstruction. His rules have included cutouts (painted plywood figures), large canvases with several smaller canvases sticking on the outside of their tops or sides, paintings upon both sides or just upon the back of the traditional stretcher-canvas unit, plain stretchers with smaller, painted-wood cutouts fastened to them, as well as horizontal canvases combined with vertical individuals in the wildest spatial "assemblages." There was also a period, between '66 and '74 when Noe gave up painting altogether, working with distortion mirrors which he would arrange in simple installations.

Perhaps the least known and greatest in quantity original of Noe's innovations is the use of swaths of canvas considerably larger than their stretchers. In these works, which pierceed Noe's oeuvre in 1980, the fabric is abundantly crumpl and asymmetrically gathered before it is stapled to the stretcher, thus setting up a tortuous surface for the brush to work on

Now in his early 60 Noe synthesizes the audacious ways of his almost four decades of work. The focus of the novel work is on painterliness, as if his craving for food for structural innovation has been satiated; the artist present the appearances at ease and free in these paintings. His works are repeatedly fantasy landscapes, presenting triumphant forests in lurid colors, furiously verdant pink, red, yellow and sky-colored The most original feature of these works is the return of areas of violently colored stripes which are painted using the change of the shoulder. Although he uses the stripes to energize his landscapes, the stripes themselves would make interesting paintings, minus the imagery. Perhaps Noe's early structural innovation and more mature painterly achievement suited most comfortably in Ominoso, a magnificent example of his oversized canvas technique. Here a blue-painted field is largely overspreaded by a heavy draping of crumpl and painted canvas that drops from the top edge.

from one side both shows, Noe's brush acknowledges masters of spatial innovation, of the like kind as Uccello, Cezanne, Pollock and Fontana. Noe's works the one and the other irritate and stimulate the senses

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