Nicole Doran b. 1983 (West Palm Beach, Florida, USA) received an Associates Degree in Fashion Design from Miami’s International University of Art & Design in 2003, and in 2011 she received a Bachelor of Fine Art with a concentration in Painting and Ceramics from New World School of the Arts. While living and working in Miami she also attended the Knight Foundation’s Art + Research Center, an alternative school in Miami’s ICA Museum. Working within the trajectory of abstract painting her work investigates spiritual practices and systems of belief through a multitude of entry points. Whether researching ancient Celtic ceremonies, English witchcraft or modern science fiction fantasy, Doran designs a vibrant comfortable zone where the viewer can uncover fragments of cynicism and speculation. The painted, stained, and dyed surfaces are often adorned with ceramic elements and additional fiber embellishments rekindling craft techniques in pursuit of new and unfamiliar compositions.
Free Reading, 2020, Ceramic with glaze, fabric dye, acrylic on canvas, mixed fiber, 40 x 64 in.
Inherent in the paintings title “Free Reading” is a double entandre implying both the common signs for psychic businesses and the queer colloquial term for calling out someone’s flaws. In the bottom right corner of the painting I have inserted the former cell phone number of my uncle Benny who passed from AIDS in 1995. Benny would have definitely given someone a “free reading”. Again the painting signals another type of knowing by combining, queer knowing, psychic beliefs, and historical assessments- signaled by the nod to Paul Klee’s “Angelus Novus” the angel that sees both past and future illustrated in the top center of the frame.
Detail of Free Reading, 2020, Ceramic with glaze, fabric dye, acrylic on canvas, mixed fiber, 40 x 64 in.
Nehalennia's Night, 2020, Ceramic with glaze, fabric dye and acrylic on canvas, mixed fiber, feathers, 48 x 50 in.
In Celtic mythology Nehalennia was a goddess worshipped as a provider of prosperity and healing, and portrayed with a companion dog. Here the painting connotes both the idea of being underwater and within the night sky operating as an adorned altar like space in hopes that the viewer finds tranquility and renewed strength as they stare into the glowing eyes of the dog.
Detail of Nehalennia's Night, 2020, Ceramic with glaze, fabric dye and acrylic on canvas, mixed fiber, feathers, 48 x 50 in.
Horizons of Coruscant, 2020, dye sublimation ink, metallic marble foil, acrylic on canvas, oil pastel, 30 x 40 in.
In the title “Coruscant” acts as both a reference to the capital of the galaxy in the film “Return of the Jedi” and as its more readily known – a word describing a sparkly item. This abstracted landscape is inspired by the sci-fi imagery of Coruscant with it’s towering skyscrapers and streams of speeder-filled air traffic. Within the painting elements of marbled metallic foil throughout reflect the light and change the surface quality based on the viewer’s position.
Detail image of Horizons of Coruscant, 2020, Dye sublimation ink, metallic marble foil, acrylic on canvas, oil pastel, 30 x 40 in.
The Acid in the Rain, Acrylic on canvas, bleached denim, wood, 60 x 60 in.
The title “Acid in the Rain” is a play on the popular myth of LSD in the water supply as well as the scientific results of sulfur dioxide and nitric oxides found in rain water due to human activates. This hand tie dyed circular composition sits just beneath the bleached denim triangular flags, which are often connoting spectacle, speed, heraldry, or décor at celebratory festivals. “Acid in the Rain” can be thought of as a visual treat that offers a spiritually enhanced surrounding. Additionally, this piece can be read as a contemporary response to the painting “Avenue in the Rain” by Childe Hassam, one that covertly declines the painter’s patriotic duty.
Detail of The Acid in the Rain, Acrylic on canvas, bleached denim, wood, 60 x 60 in.