Artist Spotlight: Amanda Nolan

Biography

Amanda Nolan is a painter based in Chattanooga, Tennessee. She received her BFA in Painting and Drawing from the University of Tennessee at Chattanooga in 2020.

Arrangements, her first solo exhibition, took place in November 2022 at the artist-run gallery, Wavelength Space, in Chattanooga. Recent group exhibitions include Crimson Tide at Soft Times Gallery in San Francisco, Tender With the Other, curated by Summer Tomes, and Intimate Spectres, curated by Kate Mothes of Young Space.

Amanda Nolan

In addition to her studio practice, Amanda curates under the name souvenir (formerly Fine-drawn). Her debut exhibition as curator, Places We Have Never Known, was held at Wavelength Space in the spring of 2022.

Artist Statement

Everything leaves its mark. Moments. Memories. The way the light hits. A good day. There are things that cling to us. Lost things stay too, in their way. A face, once familiar, now flits in and out. A muddied silhouette, but no less important for its distortion. The things that shape us, in turn, change their shape over time, whether in a series of imperceptible movements or some seismic shift—as we age, when we hurt, when we love.

My work considers the uncertain areas of these changes, the relationship between stillness and progression. Using nostalgia as a vantage point, I paint both intuitively and from memory. The imagery I use serves as a conduit for the subject matter, which remains unseen: feelings of presence, absence, lingering, longing, a sense of ephemerality, and residual impression.

The Studio Guardians

In my most recent and ongoing body of work, Arrangements, flowers act as placeholders. While they represent people, places, and memories of significance to me, they also serve as a marker of passage, implying both celebration and mourning while signifying the idea of an eternal return through change. In the end, I am seeking reconciliation between permanence and impermanence, searching for meaning along the boundary of recollection.

Through these negotiations, moments of ambiguity emerge alongside those that seem almost like clarity. Working the surface of the paintings by excavating, layering, and wiping out is a kind of searching, one that is tied to the passing of time. Things become signified while being indistinct. They are obscured, altered, and retrieved — but not necessarily in that order.

Interview

Can you tell us a bit about your journey as an artist? What sparked your interest in art?

I’ve known I was an artist from the beginning. There wasn’t really a time when I didn’t consider myself to be one.

Who are your biggest artistic influences, and how have they shaped your work?

I remember seeing J. M. W. Turner’s work for the first time, and it was incredibly impactful. His use of light and movement influences how I approach my own work.

Could you describe your creative process? How do you typically begin a new piece?

I’ve been painting my flowers for long enough that I can visualize them in different compositions before starting. I typically begin with a rough sketch to get the layout, then dive into the painting process.

What are some key tools or materials you use in your work and why are they important to you?

The most important thing for me is that you’re using quality materials. High-quality paints and canvas ensure the longevity of the work, and I don’t cut corners on those.

Where the Magic Happens

Just getting started was probably the most challenging. Building a following and figuring out how to present myself professionally took time, but persistence paid off.

Can you share a particularly memorable moment in your artistic career?

I’ve worked hard over the years to build a following, but nothing beats seeing someone connect deeply with a piece of my art. That’s always special.

How do you balance the commercial aspects of being a professional artist with your creative process?

I have to remind myself that the running-a-business side is important, but it shouldn’t overshadow my creative flow. I structure my time carefully to maintain that balance.

What advice would you give to artists trying to gain more exposure for their work?

The most important thing you can do as a visual artist is to consistently show up, create, and share your work. Networking and social media presence help with exposure, too.

Heirloom XXVIII

How important is community to your work as an artist? Are there any groups or networks you’re a part of?

Artists support each other pretty fiercely, and that’s been my experience, too. I’m part of a local art collective, and we share resources, opportunities, and advice.

What upcoming projects are you excited about? Can you give us a sneak peek into what’s next for you?

I have some exhibitions in the works that I’ll be announcing soon. I’m also working on a new series that explores different textures in nature.

Where do you see your artistic journey taking you in the next five years?

I want to travel more, so I’m hoping to show my work internationally and collaborate with artists abroad.

How has working with The Stackhouse impacted your work or opened new opportunities for you?

I was against offering prints for the longest time, but The Stackhouse has made the process so easy and the quality of their prints is exceptional. It’s allowed me to reach a wider audience without compromising on quality.

What do you think about the role of technology, like high-quality art printing, in today’s art world?

It’s necessary, especially for artists making reproductions. High-quality printing gives us the ability to offer our work to more people while maintaining the integrity of the original.