I've been meeting lots of super friendly people here in Portland. Emma was one of them. You can find her at Little Giant on the corner of Clark and Danforth Street. And don't forget to grab one of their delicious sandwiches!
The first time I saw the cleverly painted clementine boxes at June Fitzpatrick's gallery in Portland, I had a feeling my path would cross someday with the artist behind them. Lynda's work is both playful and precise; the boxes in particular seem like such a ingenious way of creating your own substrate while being utilitarian, but what the viewer may not know is the minute differences between the boxes based on where in the world they come from, and the better construction of some versus others, and why Lynda chooses them and what they end up becoming.
Lynda's use of color, shapes, and lines transfers from boxes, to paper, to canvas, and I even spotted some encaustic work in her studio from years past. Her aesthetic remains steady with all of these different mediums, but also seems to transform and expand upon itself.
I was so thrilled to connect with Lynda and visit her in her home studio in a sweet little neighborhood in Cape Elizabeth. Read below for Lynda's Q&A and for more photos.
Describe your work in three words.
Intuitive mark making.
What kind of art did you first start making? Did you pursue art in college?
I have always made drawings. I started out making representational work but have been working abstractly for many years. I studied art and art history in college.
How has your artistic journey changed over the years? Especially adding kids to the mix...did you find that altered how you worked and what your work actually was?
I didn't show my work for many years when I was a single parent with a full time job as a graphic designer.
How long have you been in this studio space? How does it compare to other spaces you've been in? What do you love most about it?
I have been in this space for about 8 years. Before that I had several different studio spaces in downtown Portland. I repeatedly lost my studio space as those raw spaces were developed into high end business space. I decided to move my studio to my home, where I work in two adjoining light-filled rooms that you visited and photographed. While I sometimes miss having my studio in town, I like being able to stay connected to the work by having it close by to easily work into the night...and check in with the work first thing in the morning.
You have such a calming and simple, yet intricate and alive sense to your work, which is actually how I perceive your personality. Has this style always been so, or has it evolved over the years, and if so, how?
I don't think about my work as having a "style" so I can't speak to that. The way my work looks is a by product or a record of my process making it. For me, making art has always been about being engaged in the process.
I sometimes think about what I can leave out or get rid of, which is why I often paint out a lot.
I usually work in "series"-working on several pieces at a time so those tend to have a similiar look.
You mentioned you worked in encaustics a few years ago. How did you make the jump from encaustics to painting, and why?
After working in encaustic and oil for several years, I needed to return to drawing in a direct, more immediate way-working with acrylic paint and a brush, letting the path of the line occur intuitively and completing each in one "sitting", each drawing isolating a single response.
Your latest creations have been created using clementine boxes, which you had mentioned is how you are being recognized now (for better or worse you felt!). I loved how you knew the particulars about the different kids of boxes, based on where they originated. Can you talk about how this process started, the nuances to each box, and whether or not you will continue this into the future?
I always liked Clementine crates for their rough utilitarian quality and for varying patterns of ventilation holes on the bottom. I saved them for a long time, piling them up in the corner of my studio, not knowing what, if anything, I would do with them.
At the same time I had been looking for a way to hook my work more to everyday life in some way-to engage myself and others by using something other than paper, canvas or panel.
I picked up a crate, turned it around and hung it on the wall. I was attracted to the different dot patterns made by the ventilation holes, the big industrial staples and angled corners. I saw it as an engaging surface and form I wanted to paint on.
At this point, I think I have completed this series.
What is the best thing you've done for your career?
Hmmmm...As an artist, the best thing I have done is to be in contact with other artists and get their feedback. Being part of the art community that shows up to support other artists at openings and art events, looking at a lot of art (not just on Facebook!), and occasional studio visits and feedback from generous artists have all helped my work.
In terms of getting some exposure for my work, applying to Biennials at Portland Museum of Art and the Center for Maine Contemporary Art, as well as other juried shows outside of Maine, has been helpful. Since jurors change for each Biennial it's a way to get the work in front of a variety of jurors who might not otherwise be aware of it.
What has been the most challenging part of being an artist?
It's always been hard to spend time on getting my work out in front of people...what I think of as the "business of art". I'd rather be working in the studio.
How has Maine influenced your work?
It's important for me to live in a place where I can be connected to the natural world.
The light, the fog, the changing colors of the horizon line of the ocean are all subtle influences.
Where do you see yourself in 10 years?
Thank you Lynda! Find more about Lynda and her work on her website here.
The annual hunt for the perfect Christmas tree. 2016.