Artist Statement: I can’t imagine this is what Hardy Ivy or John James had in mind when they built their homes upon this land… contested land… reborn again and again…baptized by flame… furthering an image of opulence and wealth, a growing hub of commerce in the south. Seen for its potential, Atlanta under all its heat, has been teeming for centuries as an expanding crossroads. Where houses and a neighborhood once stood is now a tower, spiraling up into the sky. Atlanta reaches for more, grasping at success and growth, supplanting one venture for the next, as a city that continues to reinvent itself and yet continues to hold fast to its roots and humble beginnings.
Gingkos on Peachtree St. is a collection of images printed and burnished onto wood. Snapshots into the past fill up the grooves of wood as embedded imagery displays a drastic and aggressive transformation of the historic junction of Peachtree St. and Andrew Young International Boulevard (formerly Cain Street). From imagined bird’s eye views, to standing 72 floors above the city, it is undeniable to say Atlanta has been a bastion of growth and potential that is continuously being realized.
Noah Reyes is an artist/writer based in Atlanta. After obtaining his BFA in painting from the Maryland Institute College of Art, Noah returned to his hometown of Atlanta to entrench himself in the arts and culture of this verdant city. Writing reviews and proposals for shows, Noah hopes to blur the lines between artist/writer/curator. He is interested in experimental curation/art experiences, trying to illuminate spaces in between cultures and exposing what grows from the cracks between art and society.
Representing half of the curatorial duo Eso Tilín Projects, Noah pushes to redefine artist-run spaces, and what support means in a fragile and ever-changing ecosystem for artists today. He also works for Art Papers, and serves as a board member of Lostintheletters. He is a romantic silly goose that laughs, sings, and whistles often when he works in his studio.