WILLIAM A. NOGUERA
Untitled, No.5 | Gesso and micronized San Quentin Prison-yard concrete, San Quentin prison newsprint, acrylic paint, and Masonite panel | 30 x 24 x 1.75 in
Untitled, No. 6 | Gesso and micronized San Quentin Prison-yard concrete, San Quentin prison newsprint, acrylic paint, and Masonite panel | 30 x 24 x 1.75 in
Untitled- January 13, 2022 (1915125414-21815208518) #10 | Acrylic Paint and Newsprint on Paperboard | 44 x 28 in | 🔴 SOLD
Till Memory Leaves Another Trace, Untitled - September 12, 2019 | Gesso with Ground Concrete from San Quentin Yard, San Quentin Prison Newsprint and Acrylic on Paper | 44.5 x 28 in | 🔴 SOLD
Untitled- November 29, 2021 (315161191212518) #5 | Gesso, San Quentin Prison Newsprint, Concrete, Wax, and Acrylic Paint on Paper | 44 x 28 in
Untitled – December 22, 2021 (2121311-16114208518) #7 | Gesso, San Quentin Prison Newsprint, Concrete, Wax, and Acrylic Paint on Paper | 44 x 28 in
Branded, Untitled – 15212012123 (OutLawX), August 12, 2020 | Gesso with Ground Concrete from San Quentin Yard and Acrylic on Paper | 44.5 x 28 in
Till Memory Leaves Another Trace, Untitled - January 13, 2020 | Gesso with Ground Concrete from San Quentin Yard and Acrylic on Paper | 44.5 x 28 in | 🔴 SOLD
Untitled- September 19, 2021 (Death of George Jackson) #2 | Gesso, San Quentin Prison Newsprint, Concrete, Wax, and Acrylic Paint on Paper | 44 x 28 in
Untitled- January 6, 2022 #9 | Gesso, San Quentin Prison Newsprint, Concrete, Wax, and Acrylic Paint on Paper | 44 x 28 in
Branded - Untitled 815154122113 (Hoodlum) September 24, 2019 | Gesso with Ground Concrete from San Quentin Yard and Acrylic on Paper | 28 x 22 in | 🔴 SOLD
Branded, Untitled – 451208181523 (Death Row), August 31, 2020 | Gesso with Ground Concrete from San Quentin Yard and Acrylic on Paper | 44.5 x 28 in
Untitled -Opus 1191212518X, April 17, 2018 | Gesso, San Quentin Prison newsprint, wax, ink, acrylic, acrylic paint on paper | 🔴 SOLD
Untitled #10, February 23, 2022 | Gesso, San Quentin Prison Yard Concrete, Stone and Acrylic Paint on Paper | 44 x 28 in
Untitled #15, April 2, 2022 | Gesso, San Quentin Prison Yard Concrete, Stone and Acrylic Paint on Paper | 44 x 28 in
Untitled – Opus 1182091920X, May 10, 2018 | Gesso with Ground Concrete from San Quentin Yard, San Quentin Prison Newsprint, Wax, Ink, and Acrylic on Paper | 28 x 22 in | 🔴 SOLD
UNTITLED #25, MAY 20 | San Quentin Prison Newsprint, San Quentin Prison Yard Concrete, Wax, Acrylic Paint, and Chipboard | 4 x 4 x 4 in
UNTITLED A-3 JUNE 14, 2019 | San Quentin Prison Newsprint, San Quentin Prison Yard Concrete, Wax, Acrylic Paint, and Chipboard | 6 x 6 x 6 in
UNTITLED #28 MAY 26 | San Quentin Prison Newsprint, San Quentin Prison Yard Concrete, Wax, Acrylic Paint, and Chipboard | 4 x 4 x 4 in
UNTITLED #24 MAY 8 | San Quentin Prison Newsprint, San Quentin Prison Yard Concrete, Wax, Acrylic Paint, and Chipboard | 4 x 4 x 4 in
UNTITLED MAY 22 #26 | San Quentin Prison Newsprint, San Quentin Prison Yard Concrete, Wax, Acrylic Paint, and Chipboard | 4 x 4 x 4 in
UNTITLED #30 JUNE 2 | | San Quentin Prison Newsprint, San Quentin Prison Yard Concrete, Wax, Acrylic Paint, and Chipboard | 4 x 4 x 4 in
William A. Noguera is an artist, author, and speaker whose artworks have exhibited in Paris, London, San Francisco, and New York. His recently published memoir, “Escape Artist,” has received critical praise from numerous publications, including Forbes Magazine and The Guardian. Noguera lives in Southern California. He previously lived on Death Row at San Quentin Prison and his work is represented by SE CLT Gallery in Charlotte, North Carolina, courtesy of the William A. Noguera Trust.
After more than four decades of incarceration, Noguera was freed in 2025. During that time, Noguera forged a code by which he lives to this day: accepting responsibility for his actions, educating others, and tenaciously creating an avenue for expression of hope. In the process, he explored his capacity to bring focus and clarity to his artistic vision. In a place where expectation for redemption is minimal, Noguera defeated the odds.
The range of Noguera’s artwork is broad: he first gained acclaim for his hyper-realistic montages in ink stippling, but he honed his skills over his decades on Death Row at California’s San Quentin Prison. He sculpts, paints, and creates mixed media pieces that Noguera says “allow the viewer to experience through a personal narrative the landscape of my confinement and the traps that exist there.” Throughout his artistic exploration, Noguera steeped himself in manifesting his freedom. Using crushed rocks from the prison yard, he created roughed gesso to literally break down the walls that incarcerated him. Noguera’s present abstract style is rooted in geometry, constructivism, color theory, and color field painting.
William Noguera’s Death Row Diaries, the only true crime podcast hosted from Death Row, is available to stream on Spotify, iTunes, and iHeartRadio.
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