William A. Noguera was born in 1964. His life-long passion for art began by the age of two while he watched and learned the fundamentals of drawing from his mother, a painter. Later, he would learn and work with his father, creating sculpture and design furniture from wood, marble and metal.

In 1983, at the age of nineteen, Noguera was arrested, tried, and sentenced to death for first-degree murder. Arriving at San Quentin State Prison in 1988, he was sent to solitary confinement where he became reacquainted with a passion for expression and began a study of art history and its champions, unleashing his artistic voice in mural form on the walls of his cell.

For three decades, Noguera has maintained the even tenor of his artistic path with relentless acuity, alert to an array of sources but remaining resolutely inner-directed. Noguera’s thirty-year dialogue with the masters of modern and contemporary art through their work has fueled an artistic journey. Beginning in a realistic visual style rooted in a conscientious sense of mark-making based on the purest form of his psychological undercurrents that evolved over the years into his emotionally driven neo-constructivist wall sculptures. His abstract and color field paintings that pulse with conflicting impulses, struggle for space, and are an abstract meditation on his surroundings based on geometry.

Noguera successfully melds the flatness of painting with the dimensionality of sculpture, capturing a sense of perpetual motion. Indeed each work, while busy, and despite its apparent mathematical underpinnings, convey an unexpected powerful sense of basic human emotion.

The most intriguing feature of Noguera’s oeuvre may be how his signature innovation is the way he alternates between hyper-realism and abstraction, so that only in the aggregate does one perceive the truth of his practice: that no belief in a particular style unites it all. Indeed, his mind-set is grasped only when you realize that although each individual work contains a vocabulary of emotional and mathematical meaning coded within its abstraction or image. Noguera constantly redefines conventional concepts of space—merging painting, sculpture, and architecture in a synthesizing, contemporary interpretation—balancing the phenomenological and metaphoric, the prolific and ascetic, the theatrical and ritualistic.

The enduring value of the long-haul, as marked by the countless years spent alone in his cell, is what perhaps most distinguishes his painting practice from the more collaborative modes of contemporary art making. Noguera proves once again that the hard-won rewards of this solitude can be glorious.



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1992 – Bristol University (formally Kensington College)
Santa Ana, CA


Bachelor of Science | Criminal Law