1983. Mexico City
Lives and works in Mexico City. Graduated Fine Arts and Art History from Goldsmiths College London.
Partly mathematical and partly organic – the numbers move, the body is alive.
One of the things that art does is that it seeks for change in order to escape from statu quo or the paradigm. Art tries to liberate itself from the solidified present boundaries or limits defined by the establishment but art in doing this eventually end up creating a new paradigm.
The practice of Ana Noble does not fall in this tramp,” the tradition of the rupture” as Octavio Paz defined it, Noble’s practice seeks not for a constant change and does not negotiates with tradition, nor it tries to search for the “new” to avoid installing itself in the tradition of change. Ana’s work does not seeks for a constant redefinition but seeks for seeking itself, it seeks to explore, to investigate in order to escape being reified and defined.
Her doings and undoings are based on this constant search and sometimes it does not need to take the shape of anything in particular but its vital doings and needs that she transforms into meaning and beauty simply by the consciousness invested on them. When Ana produces her collages she does it with the immediacy proper to this practice and with the same authority, vigor and poetic beauty as Linder or Hannah Hoch did. The immediacy inherent in collage suits well Ana’s vital practice, when she produces objects or paintings she does it in the same subtle, vital and in a womanly manner, her motives derive from many sources such as esotericism, spiritualism, geometry and the body.
Searching is the practice of the body and the spirit and Ana’s searching is expressed as a journey with all its eventualities included, where nothing is irrelevant or meaningless, so in order to experience her work we will have to be willing to leave behind all our wanting for definition or stillness.
Edgar Orlaineta. Mexico City, March 2016