Lisa Armstrong Noble (American, b.1973, Winnipeg, Canada) began her formal artistic training at the Alberta College of Art & Design in 1997. She moved to the United States in 1998 to complete her BFA at the Corcoran College of Art & Design in Washington, D.C. During each year of study Noble’s efforts were recognized with the Dean’s Merit and Corcoran Scholarships.

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Noble’s work is included in many private collections across the U.S. She has been recognized by The Washington Post, The Washington CityPaper, The New York Times, Miami New Times, D.C. Pulse Magazine, and Studio Visit Magazine. Noble was named one of Washington’s ‘25 Most Beautiful People’ by Washingtonian Magazine.

Noble’s first exposure to art occurred at the age of four, while during a field trip with her Kindergarten class to the Winnipeg Art Gallery she saw a painting by British artist Brigette Riley. Riley’s distinctive Op Art style of black and white form and the disorienting effects of her canvases instantly struck a chord with Noble, who was at once profoundly impacted by art’s innate power to dissolve the veneer of the everyday.

artist statement

I paint as a means to write a new memoir for myself because I have lived my life by a set of incomplete stories. Over time I filled in the blanks with my own ideas, blending myth and reality into an acceptable framework that carried me into adulthood. The structures that punctuate the landscape of my youth and the objects contained within their interiors serve as markers along the path to exploring and, at times, unearthing my personal history. 


The family cabins are an important part of my personal history. I paint these places of my upbringing to better understand why I see the world as I do today. When I started this series I did so with the mindset that if I didn't look back I would never be able to move forward as an artist. It isn't always easy and a lot of hard work is required of me, but I wouldn't have it any other way.



I have also ventured beyond the cabin interiors to the surrounding prairie and lakeside. Along this journey reside the structures and landmarks of my past. Like temples and totems they punctuate the landscape of my memory, offering new territory to explore. The outdoors requires a different way of painting, setting forth new challenges.

The Figure

In early 2020 a new body of work started to percolate in the studio, combining the many themes and lessons learned from the interiors, landscapes, and miniatures. I'm not sure what to say about the figures yet, except that I feel like I've come home after a long journey. More to come.


The Painting Center Art File

New York, NY

Edward Hopper House Museum & Study Center

Nyack, NY

The Washington Project for the Arts

Washington, D.C.


Caitlin Berry Fine Art

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The After Dreaming Catalog by Artist Lisa Noble



"My hope is that this catalog will help you to feel a sense of place and to find comfort in the familiar aspects of the scenes. These are the places of my past, my personal history. At times, it is painful and difficult to revisit them. At other times, I am reminded of the magical properties of being alive."


signed copies

Studio Visit Magazine Volume 42



Juror: Lisa Crossman, Curator, Fitchburg Art Museum, Fitchburg, MA


Publisher Steven T. Zevitas writes, "The featured artists represent a wide range of aesthetic viewpoints that I think accurately capture the pluralistic time in which we live. Some of the artists .... are self-taught, while others hold graduate degrees. Some have shown extensively, while others are at the beginning of their careers."

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Studio Visit Magazine Volume 40



Juror: George Kinghorn, Director, University of Maine Museum of Art


Publisher Steven T. Zevitas writes, "There is a crisis in the art world that, in my opinion, is only getting worse. Put simply, there are now thousands of artists around the world producing serious work and far too few opportunities for that work to be exhibited over meaningful contexts. ... I launched [Studio Visit Magazine] in 2008 so that we could accommodate the needs of more artists than New American Paintings could serve."

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