The Panoramic Work of Noah Bradley
When browsing the internet you can come across a lot of crap. As a matter-of-fact, it becomes very difficult to be objective and open to the concept of the freedom of art as expression. There are are a number of people who would likely argue that the paint being splattered on canvas and then a body pressed up against it is worth the $70,000 some foolish rich person would pay for it. We aren’t those people. So, it was with relish that we came across the glorious work of Noah Bradley when we were browsing today.
In Noah’s own words, “I’m a concept artist, illustrator, and landscape painter.” We’d have to say he’s being rather modest. Perhaps he should edit the line to present more like this: I am so that all may marvel at my work. I am so that people don’t have to conceptualize as I’m the epitome of the concept artist. I am the illustration of an illustrator. I create landscapes and environments which must mean I am a god. I am so that this may all be.” Maybe that’s a little too much, but we’d buy it for a dollar.
Check out some of his work and you’ll see what we mean. He seems to approach every piece as though it is his life’s work, and is paid dividends for his efforts. His brilliant use of color is nearly flawless and his shadow play is that of a master conductor with the Berlin Symphony. With the work titled “For All That could Have Been” he takes us to a moment just before the complete destruction of the world; and it is beautiful.
We can practically feel the still before the blast wave, and if you look at the posture of the people gathered about the dispair is palpable. The mood if very heavy, and even though our interpretation of the scene is likely not what was intended, that’s what speaks to us.
Then, we’re taken to another part of the world of Noah Bradley’s talent with “Moat.” We feel like a pilgrim at the end of the road looking upon the giant wonder that is the fortress, and we’re waiting for the giant drawbridge to lower so we can go in and see the pinnacle of our existence. Of course, if you aren’t into completing your life quest it could also be a formidable view for someone with the intent to invade. Then the moat wouldn’t be the only thing we’d be worried about.
The clouds are really the most impressive part of this piece if you were to ask us. Even if you weren’t going to ask, we’d share because that’s what art critics do. We’re like that, you know? Anyway, back to the artwork: take a look at the backlighting in the clouds, the rich golden color is remeniscent of the Master’s use of warmth, and the foreground just balances it all out with those tiny little people staring up at the majestic monolithic fortress preparing to eat them.
When we showed Noah’s artwork to Lance W. Card he was seriously impressed. He said it made him want to dive back into some of the paintings he has planned and to hell with responsibility. Of course, we can’t condone such behavior as we’re quite certain that Lance’s wife would hunt us down and slay us…or imprison us in the fortress surrounded by the moat in Noah’s picture.