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
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
