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Work Samples

Fall Nicole Worksample 1.jpeg

Pangea, cast bronze sculpture, 2016
Pangea, cast bronze, patina, unique cast, 2016

Fall Nicole Worksample 2.jpeg

Bronchea Orangica, cast bronze, enamel, string, unique cast, 20in x 18 in x 3in
Bronchea Orangica, cast bronze, enamel, string, unique cast, 2016

Fall Nicole Worksample 5.jpg

Pro-aesthetics, clay sculpture, welded steel
Pro-aesthetics, clay; stoneware and porcelain, welded steel, glaze, oil paint, 36 in x 20 in x 12 in, 2005

Fall Nicole Worksample 6.jpeg

welded steel sculpture, clay, Tree of Life
Tree of Life, welded steel, enamel, clay; stoneware, glaze, 25 ft x 6 ft x 5 ft, 2000

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About Nicole

Baltimore County

Nicole Fall's picture
Nicole Fall is an artist educator who makes three dimensional objects in clay, welded steel and cast bronze.  She has also taught art in a diversity of settings for most of the past 30 years : senior citizens in senior centers,  as a founding teacher of George Washington Carver Center for Arts and Technology, as Associate Professor at Baltimore City Community College, Baltimore City Public Schools, and as an adjunct professor at MICA, and Loyola University and as a visiting artist at Kyambogo... more

Sculpture

This is a portfolio of sculpture in clay, welded steel and cast bronze dating from 1989 to the present. I was born and raised in Washington DC where I was fortunate enough to experience the excitement and turmoil of the 1960s. My mother is an artist and my French father was a journalist during the VietnamWar (where he died in 1967 after stepping on a landmine). I lived in or traveled to other countries as a child, based often on my father's work; Campuchea ( Cambodia), Algeria after its war for independence from the French. My father was also a professor at the historically Black, Howard University.

 My father's sister, my aunt, told stories of  the horrors of the Holocaust (my grandmother and other family members died in concentration camps). She and my father participated in  resistance activities; my young-teen age aunt hiding in a convent, teaching Jewish children new identities so they could go live with Christian families, my father and grandfather joining the French Resistance (my grandfather was tortured to death by Nazis). I would go with my father to the hospital to visit a friend of his who had driven over a landmine in Vietnam, coming eye- to- eye with the results of violence and war. 

From all of these experiences I developed a world view and while I lived a priviledged life, I had some understanding of trauma. This understanding has influenced my teaching and my art work.  I was raised to question authority and the assumptions of a White-dominant culture. My art teaching career has been focused on equity, and the empowerment of students through the enhancement of critical thinking skills.

 My sculptural work uses the forms, color, and, at times, the merciless forces of Nature to consider the human condition- along with a dark, absurdistsense of  humor. I am sensitive to the characteristics of each of the media I work with. The physicality of the work ( I studied dance as a youth)  in clay and steel involves a "call and response" where I work with the medium and also incorporate what that medium does naturally. The process is more significant to me than the final result. My sense of  success about the work is based on how much I have learned from the process of making it.

 

 

  • Negotiation

    Negotiation, cast bronze from brambles pulled from a large pipe, patina, 2 ft x 15 in x 12 in, 2016
    Negotiation, cast bronze from brambles pulled from a large pipe, patina, 2 ft x 15 in x 12 in, 2016
  • Cocoon

    Cocoon, welded steel, porcelain, enamel, oxides, glaze, 4 ft x 3 ft x 1.5 ft, 2004
    Cocoon, welded steel, porcelain, enamel, oxides, glaze, 4 ft x 3 ft x 1.5 ft, 2004
  • Moving Onwards from Before

    Moving Onwards from Before, 2010, 14 ft x 12 ft x 6 ft, welded steel and clay, 14 ft tall welded steel "tower " with a smaller welded steel organic formed structure, with a fired red clay undersea form attached, then other clay sculpture next to it
    Moving Onwards from Before, 2010, 14 ft x 12 ft x 6 ft, welded steel and clay
  • Crystalizations

    Crystalizations, cast bronze from original wax, oil paint, 2000
    Crystalizations, cast bronze from original wax, oil paint, 2000
  • Porcelain and Iron

    Porcelain and Iron, Porcelain, iron, steel, oxides and oxidation, 14in x 10in x 7"
    Porcelain and Iron, Porcelain, iron, steel, oxides and oxidation, 14in x 10in x 7", 2007
  • Fingerpede

    Fingerpede, cast bronze from wax original, patina, 5 in x 10 in x 4 in , 2000
    Fingerpede, cast bronze from wax original, patina, 5 in x 10 in x 4 in , 2000
  • Tree of Life

                                                                         Tree ion Li
    Tree of Life, welded steel, stoneware clay, glaze and enamel, 25 ft x 6 ft x 8 ft, 1997
  • Tree of Life ( detail)

    Tree of Life, Detail, welded steel with clay stoneware, glaze and enamel.
    Tree of Life, Detail, welded steel with clay stoneware, glaze and enamel.
  • I am

    I am, cast bronze, acrylic, 2.5 ft x 15 in x 12 in, 1995
    I am, cast bronze, acrylic, 2.5 ft x 15 in x 12 in, 1995

Public Art (community based) and Social Practice

Community - based public art in this context is sculpture that either/and /or; involves working with community to visualize and make a work for that community and  public space, or a work that is commissioned for a an organization or community center. In general it occupies a public space.  

Social Practice is art that involves working with people directly as an art form in itself. Hopefully this leads to discoveries for both the participants and the artist. My first jobs ( I had many part time jobs including cooking in a restaurant) out of college involved working at a children's museum making art with the public and going to senior centers throughout Baltimore teaching ceramics. I also have worked with the public at festivals doing hands-on activities and taught in high schools and colleges.

About 10 years ago I realized that the two aspects of working; by myself in the studio and teaching people should come together somehow. 

  • Brooklyn O'Malley Boys and Girls Club Design

    Brooklyn O'Malley Boys and Girls Club, window grilles designed to have cut out pictures in them, yellow laser cut metal, photographs of the children from the center were then made into metal cut-outs
    Brooklyn O'Malley Boys and Girls Club, window grilles; work-in-Progress, 2019, funded by Guttierrez Memorial Fund, students at the center posed for photographs and then they will be cut out of metal and used as window grilles to replace the institutional expanded metal ones.
  • Brooklyn O'Malley Window Grille Designs

    Brooklyn O'Malley Boys and Girls Club,Window Designs, black and white computer generated drawings from photographs of students and staff  being playful
    Brooklyn O'Malley Boys and Girls Club,Window Designs, 2019 students and staff posed for photographs and these were used in the designs, technical assistance Blake Conroy
  • Sculpture for Access Art

    Access Art at Morrell Park Elementary Middle School Baltimore, laser cut images and welded steel, powder coated color, 17 ft x 6 ft diameter  2013, students posed for photographs that were then made into a predetermined umbrella shape.
    Access Art at Morrell Park Elementary Middle School Baltimore, laser cut images and welded steel, powder coated color, 17 ft x 6 ft diameter 2013, students posed for photographs that were then made into a predetermined umbrella shape.
  • Washington Very Special Arts; School for the Arts in Learning

    WVSA; School for the Arts in Learning, welded steel cut outs, Washington DC
    Washington Very Special Arts; School for the Arts in Learning; welded steel figures made from students' drawings, 40 ft x 12 ft by 6 ft, 2008, Washington DC
  • WVSA; School for the Arts in Learning

    WVSA;School for the Arts in Learning (detail); one flat 7 ft tall figure on the left , then hanging on the wall is a yellow flat metal cut out figure doing a jumping split (about 4 feet across), with 4 small white figures ( flat metal cutouts) underneath.
    WVSA;School for the Arts in Learning (detail)
  • Hand of Creativity, Johns Hopkins University

    Hand of Creativity, a 9 foot tall welded steel human hand with objects added to it by passersby
    Hand of Creativity, Johns Hopkins University, Welded steel, A temporary, one year installation, where passersby could add objects or materials ( based on Nikisi figures of Central Africa), 9ft x 4.5 ft x 3 ft ,2012
  • Hand of Creativity (detail)

    Hand of Creativity ( detail) shows a Black mother and her daughter adding objects to the sculpture
    Hand of Creativity (detail) people adding objects and notes to the sculpture
  • Empower

    A sign painted on a piece of wood that says EMPOWER with the artist's phone number. It is hanging in the art gallery and people are walking by it.
    Empower, 2010, I would have the poorly executed sign hanging in the gallery and people would call the number and I would ask them about little everyday acts that they did to empower others and thus themselves too. One man said he didn't do anything but he was the primary caregiver for his sick wife. He was heartened to hear that his work mattered. The intent was to take this outside the gallery. The point was to empower people to see that they empowered others even in small ways.
  • Empower Station, Figment NY, Governors Island , NYC

    Empower Station, this is a photo of people filling out Post -it notes of everyday acts of kindness that empowers others and thus themselves.
    Empower Station, 2013, referring to places where people can charge their phones,I made a weaving of old computer cables. From there passersby would stop and talk about how they empowered others by their everyday acts and how that made them feel. Since this was NYC many said they gave tourists directions.They wrote what they did on Post-Its and attached them to the wall of cables. A number of children's groups came by and wrote about helping with household chores. The point is to help people realize that they can make change happen. We sorely need that now.
  • Empower Station Notes

    Empower Station;Samples of notes; "I help my mother clean the house everyday." " I smile at people on the subway"
    Empower Station; some of the notes people wrote about their everyday acts that empower others and themselves.2013

Printmaking

I have made prints in one form or another since childhood ( I come from a family of artists).  Sometimes they relate to my sculptural sometimes not. As with many sculptors I find negotiating two dimensional space quite challenging. 

Project Management for Baltimore Clayworks

These are community based public art projects that were managed for Baltimore Clayworks. I worked with them from 2000-2003 and from 2017 to the present. In the first case I was the Community Arts Programs Director and in the second, Interim Executive Director and Community Arts Manager. 

  • "There is Hope in the Heights",Park Heights Renaissance Mural, Artist Herb Massie

    Park Heights Renaissance 2019 in Shirley Avenue Park. Collaboration between Park Heights Renaissance, Safe Streets, and Youthworks. 31 high school students worked with artist Herb Massie to help design this anti violence mural for the park. There is an e
    Park Heights Renaissance 2019 in Shirley Avenue Park. Collaboration between Park Heights Renaissance, Safe Streets, and Youthworks. Artist Herb Massie mentored and worked with 31 high school students worked on this anti- violence mural for the park. There is an elementary school across the street( children seen here). The mural was funded by the Baltimore Children and Youth Fund. The quote " There is Hope in the Heights" belongs to, Safe Streets member, Rashad Singletary. Kaliq Simms of Park Heights Renaissance had a major role in making this project a reality.
  • St. Francis Academy, And Still I Rise, Artist; Leroy Johnson

    St. Francis Academy,And Still I Rise,  broken tile mosaic by Leroy Johnson (from Philadelphia), located at St Francis Academy, Baltimore,2002
    St. Francis Academy, And Still I Rise, broken tile mosaic by Leroy Johnson (from Philadelphia), located at St Francis Academy, Baltimore, Artist Herb Massie was also invloved.2002
  • St. Francis Academy, And Still I Rise (detail), 2002

    A close up detail of And Still I Rise, an angel is depicted holding a plaque dedicating the mural to the Mother Superiors of the Oblate Sisters of St Francis Academy
    St Francis Academy Mural, And Still I Rise, ( detail) 2002
  • Tiffany Square, 2001, with Herb Massie

    The photograph shows artist Herb Massie next to the Tiffany Square mosaic tiled wall.
    Tiffany Square 2001, This mosaic tile mural was part of a community project with artist Herb Massie. It was in honor of six year old Tiffany Smith who was killed by a stray bullet in a shooting in1991, in West Baltimore. It has since been rebuilt.
  • Tiffany Square Mosaic with Community

    Tiffany Square, a mosaic tile mural along a one foot tall wall. The photograph shows police and children working together on the wall.
    Tiffany Square 2001, This mosaic tile mural was part of a community project with artist Herb Massie. It was in honor of six year old Tiffany Smith who was killed by a stray bullet in a shooting in1991, in West Baltimore. It has since been rebuilt.
  • Mosaics PHR left wall.jpg

    Shirley Avenue Park 2020. A series of mosaic tile works were made by youth. The image shows square plaques mounted on a short brick wall.
    Summer of 2020, Phase II of Shirley Avenue Park enhancement. For the second summer in a row Baltimore Clayworks partnered with artist Herb Massie,and Park Heights Renaissance;funded by Youthworks and the Baltimore Children and Youth Fund. Youth created mosaics that included clay reliefs they had made and broken tile. This project was done in a hybrid format due to the pandemic.

Nicole's Curated Collection

This artist has not yet created a curated collection.