Monday, January 13, 2020

Linda Lynch, The Art of Linda Lynch


The Art of Linda Lynch




1. Ark (detail)
Pastel pigment on cotton paper 22 1/4 x 30 inches
Linda Lynch, 2019


2. Barque
Pastel pigment on cotton paper 60 x 44 inches
Linda Lynch, 2019


3. Prow (from the Lurgan Bog)
Pastel pigment on cotton paper 90 x 132 inches
Linda Lynch, 2019


4. Karst Drawing
Pastel pigment on cotton paper 90 x 132 inches
Linda Lynch, 2017



5. Little Karst Drawing
Pastel pigment on cotton paper 60 x 44 inches
Linda Lynch, 2017


6. Karst Study
Pastel pigment on cotton paper 44 ½ x 30 inches
Linda Lynch, 2018


7. Quarry, I
Pastel pigment on cotton paper 60 x 44 inches
Linda Lynch, 2015


8. Quarry, III
Pastel pigment on cotton paper 60 x 44 inches
Linda Lynch, 2015


9. Quarry, IV
Pastel pigment on cotton paper 60 x 44 inches
Linda Lynch, 2015


10. Quarry, V
Pastel pigment on cotton paper 60 x 44 inches
Linda Lynch, 2015


10a. Prow Study
Graphite, soluble pencil, ink on paper 15 x 18 inches
Linda Lynch, 2019


When drawing is allowed to create itself, to chart its own history and probe its own memory--and by doing so, to portend its future--the role of the artist is to step aside and witness. In a process of high fidelity listening origination is revealed. Since 2011 I have collaborated with poet Heller Levinson through the process of Hinge. Our collaborations engage visual art and language that invite both artist and author to step aside and witness two mediums in dynamic reverberation.
                                      —Linda Lynch


11. Thorned Landscape
Pastel pigment on cotton paper 30 x 44 inches
Linda Lynch, 2015



12. riverrun
Pastel pigment on cotton paper 30 x 44 inches
Linda Lynch, 2012



13. Infinite Molt
Pastel pigment on cotton paper 30 x 44 inches
Linda Lynch, 2013



14. Empty Drawing 
Pastel pigment on cotton paper 22 ¼ x 30 inches
Linda Lynch, 2013

Empty Meditations, Heller Levinson

vacuity
            u(tt)(dd)erless
                                    trussed, … tempered down
                                    wearied bundle
terms of dismissal

how much of
emptiness
is
vacuous

how much of
vacuity
is
absence

vacuum pearlizes approach, braids
counter-institutional polestars,
gangrenes the slop
            of
                        hoard

                        ~

heard
                        in the vacuum

lung

                        ~

where in
emptiness
is
ballast
                        ~
can we discriminate between vacuity & emptiness? . . .

                        ~
tenebraed to

vacuity
                             to
pitted abeyance
stalled conveyor
accumulating wither
to the not that is not
                                                   (where in the absence is reverb?
Oscillative flaps ashore like an endangered species, vocalisms deprived of consensus  tumble recklessly netted in obloquy, hazard  churls the Scintillative
the disappearance of whistling
hardly matters

“the red barn is empty” would not signify that the red barn participates in the concept of ‘emptiness,’ in the notion of nothingness, rather, it would indicate that the red barn contains no matter, is void of contents.  that it is spacious, wide open, . . . available. 

for a red barn to symbolize emptiness it would have to unoccupy its position as a red barn.

does color establish presence?

emptiness emptied is vacuum

imagine an empty clarinet

                        ~
empty = without
emptiness = the void ploughed clean,
a draft drizzling incinerate,
the evaporate
evisc-
er-
ating

how much of
emptiness
is

depositable


15. Little Lugar Quebrado
Pastel pigment on cotton paper 22 ¼ x 30 inches
Linda Lynch, 2014


16. Swag
Pastel pigment on cotton paper 30 x 44 inches
Linda Lynch, 2013


17. Bone Springs Rain Grass
Graphite and pastel pigment on cotton paper 22 ¼ x 60 inches
Linda Lynch, 2005


18. RainGrass
Graphite on cotton paper 90 x 132 inches
Linda Lynch, 2017


19. Quarry, VII
Graphite and pastel pigment on cotton paper 60 x 44 inches
Linda Lynch, 2017

20. Rain
Letterpress print on Sekishu paper 24 x 18 inches
Linda Lynch and Heller Levinson, 2015

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