Noa Weintraub's work reflects on notions of femininity, decoration, old and new craft and women’s roles in society.
Conscious of traditional female activities such as lace making, baking and cake decoration, her work explores cultural preconceptions of female activities of the past and present.
Working predominantly in ceramics, her vessels are coiled in stoneware clay, but importantly the work still has a delicate feel.
Heavily decorated, the starting point of each lace pattern depicted, is an old Masters portrait of a female sitter. A detail from a lace cuff, collar or hem, is transformed and adapted. Thus maintaining a cycle of time, activity, female sitter, female artist. Time is referenced in the activity of making the vessel, the time span between the vessel and the historical painting, and of lace making and it’s representation.
This intricate surface of lace, references a symbol of piety but also of tease – a fascinating double meaning.
Consciously left imperfect – the work is simultaneously slightly clumsy but detailed. Intentionally naive and dark at the same time.
Ideas of restriction, social expectation, gender equality and female empowerment are explored.
For Noa, these vessels do not sit solely in one artistic discipline. They flit from object to image, as they do from past to present.