end of semester / artist statement

IMG_4519 - Version 2

In seeking to better pay attention, the art principles of pattern and repetition emerge as useful tools. Much of our learning relates to the recognition of patterns, whether biological, aesthetic, mathematical, or otherwise. By pointing out things we may have missed the first or second (or third) time around, they help us to notice.

This work1 maps, tracks, and presents as evidence some of the repetitions in my life. It takes advantage of the power of pattern in several ways: as documentation, remembrance, meditation, points of empathy, and studies in aesthetics. The physical processes inherent in art-making demand that embodiment accompany mental-spiritual presence, and embodiment is always relational.

“I am stumbling in pursuit of grace2” – wholeness, healed-ness, holiness – for “out of wholeness we make good things.3

Out of wholeness, we love.


1some of it is here: lynnettetherese.com/portfolio
2Sarah Kay spoke this.
3Shauna Niequist tweeted this.

learning to see

The fall semester begins in two weeks and I’m trying to find a starting point/points for art-making this academic year. (It’s my last one, which means thesis time.) This is what I was thinking about/where I had landed by the time my end-of-semester review came around last spring.

learning to see // May 2015 | Lynnette Therese

I. new glasses

In first grade, I was prescribed glasses for the first time. As Mom drove us home in the green minivan, I remember raising and lowering the frames from my eyes and reveling in the newfound crispness as it passed by. There were trees and a field of tall grass and telephone wires, and all of a sudden this world of soft color had brand new sharp edges. Continue reading “learning to see”

Interpreting Details (series, fall 2014)

This semester, I’ve explored abstract interpretations of some of my favorite details from classical paintings I was able to see this summer. Using my own photo references, I am finding abstract compositions within these classical works and paying homage to the brilliant and energetic brushwork, textures, color relationships, value patterns, etc. found in a small portion of the original painting. I’m interested in the relationship contemporary artists (and non-artists) have to historical work, the unique phenomena of experiencing a painting in person, the different responses to similar compositions in a representational vs. non-representational abstraction context. I don’t think we can avoid the long heritage of artists who have come before us or the traditions that art history has given us. So how do we make original work – our work –  in light of this? Even though these started as references to what I’ve seen, they emerged as pieces that very much reflect my hand, aesthetic sensibilities, and creative process in responding to a painting that is mine and in front of me.

After Jan Breughel, oil on canvas, 35 x 45 inches, 2014
After Jan Breughel, oil on canvas, 35 x 45 inches, 2014

libero: for Alison

libero: for Alison, ink on paper, 2013
libero: for Alison, ink on paper, 2013

 

Tattoo design for a dear friend of mine. (By the way: the tattoo artist did a phenomenal job and the final piece looks wonderful!)

Libero means “freedom” in Latin, and the elephant is a national animal of some southeast Asian countries as well as a symbol for strength, honor, and patience. Trips to several countries in this region of the world were an introduction to her passion for fighting human trafficking, and she sees these traits as valuable in that pursuit.