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ADVANCING THE ARTS ACROSS MARYLAND

Noa Heyne

Noa Heyne

Artist Work

Floor Marionette #2
2016
Papercrete, metal rods, wood, hinges, string.
45 x 56 x 40 inch
Is Time an Action
2016
Concrete, fiberglass and rebar
33 x 33 x 8 inch
Weathered Like a Rock
2015
Concrete, fiberglass, rebar, wood and wheel.
79 x 30 x 24 inch
Olive Tree / Marionette
2014
Olive tree, rebar, string and ladder.
dimensions variable
Posthumous Adaptations: See-Saw
2017
Concrete, foam, metal, wood, water-bladders, tubing, water.
Dimensions Variable.
Posthumous Adaptations: Entropia
2017
HD, 16:9 format,
Duration: 5:13 min.

Artist Information

County
Baltimore City
Artistic Category

Visual Arts

Artist Statement

Underlying my work is the notion of temporary stillness or unattainable stability. The ground, as a plane upon which we rest our feet or against which we measure our vertical potency, is present in my work as a constant vibration. Like the floor of a ship at sea, it is – despite its firm structure – always rocking, ever-vibrating the wills of an ocean of external, unknown forces. As I reflect and evaluate my path and my history, I find myself asking: who controls my space? I choose concrete as my main material because it is both old and new, and because it is a fluid that quickly turns into everlasting stone: like humans, it has a short span of potential before it is set forever in one form. Its use is as ancient as the Roman Empire, but its presence in our time is overwhelming; it is in the core of our buildings, our homes, but also our war shelters, those spaces that are built in order to stay empty, and are housed only when everything else is torn apart. Drawing from the language of marionettes, I create imagery and environments that bring back movement into seemingly still and permanent structures. I look to emphasize the physical engagement of the visitors with the objects around them; my systems of pulleys and ropes ask the visitors to juxtapose their own bodies with the weight and dimensions of the elements around them. By using animation and drawing in proximity to large concrete structures, and by incorporating within each medium elements that echo the others, I wish to instill fantasy in structured reality, and question the role of individuals as audience / participators/ activators or full manipulators of their space.