Interested in synesthesic environments—meaning an environment that invokes all the senses in their totality, but not necessarily in their expected roles—Noah Sheldon presents works that allow a free association of sound and vision, memory, landscape and bodily sensation. An artist New York Times critic Roberta Smith has described as “skilled at separating beauty from the material world, while reminding us it is just about everywhere,” previous works by Sheldon have included a photographic exploration of the rainbows that appear continually in the mist surrounding Niagara falls; an upright piano in which the reverberation of each tone played was modified by successive reverberations; and a motorized wind chime sculpture made from perfectly chiming fence post caps. The results of Sheldon’s work are simple, yet deep-seated.
Noah Sheldon studied Percussion and New Music at the New England Conservatory of Music. He received his BA with a concentration in photography from Sarah Lawrence College and his MFA in Visual Arts from Columbia University. His recent solo exhibition at Yautapec in Mexico City was a formal portraiture studio inspired by Walker Evans’s 1936 Penny Picture Display, Savannah, Georgia, and its brilliantly captured assemblage of individual stories and personas. The resulting piece has been described as “a total work within Yautepec that [was] at once performance, sculpture, and document of its time.” Other solo exhibitions include, D’Amelio Terras (New York, NY) and Southfirst (Brooklyn, NY). Sheldon’s work was featured in Ensemble, curated by Christian Marclay, at the Institute of Contemporary Art (Philadelphia, PA); and has been included in group exhibitions at John Connelly Presents (New York, NY); PS.1 Museum of Contemporary Art (Long Island City, NY), the Swiss Institute (New York, NY) and the Queens Museum (Queens, New York).