The Definition of Diva

Sunday, August 13, 2017, By: kristen

On August 2nd the reception for our new exhibition “Impressive” took place right here at The Barn. After an evening filled with enjoyment of fine art, networking, and inspiration, we asked some of the amazing artists exhibiting work in our new print making exhibition to tell us a little bit about their work.

Local artist Linda Ryder had this to say about her pieces. “For many decades now, my images have explored fabricated assumptions about gender. In particular, I have researched and examined the implications of assuming women are only part of nature, while men instead create culture, and how that has played out in science, society, law and everyday life. I have collected

and used material from many sources, including scientific theories of the 1800s, early modernist writings, and examples up to and including current times. I have a specific visual vocabulary that I use repeatedly: the running man, the falling figure, anatomical parts, the dead bird, the wailing/singing/screaming/laughing woman. I combine these with images of mechanical rendering, natural textures and the tools we use to explain the world to each other, such as writing, diagrams, measurements and tools.

These particular pieces on display come from the nature/woman side of the dichotomy, and include the dead birds (fallen acrobats) and divas, or women who are doing ….. what? Wailing? Singing? Screaming? Laughing? We don’t know. Is a diva a brilliant, highly trained, professional who is at the top of her game? Or, as the word is often pejoratively used, is she “high maintenance”?

I work mostly in site specific installations, found object assemblages and printmaking. Structurally, my recent work has been inspired by the irregularly shaped and heavily damaged fragments of frescoes hanging salon style in the tiny back rooms of San Marco, Florence. The suggestion of larger narratives, history, ruins and symbolism, along with the occasional pattern, merged with my ongoing interest in surfaces.

My printmaking has been, for decades, about using multiple plates in different combinations to form unique works, rather than creating numbered editions. Processes I use include stone, plate and polyester lithography, collagraph, solarplate, monotype and collotype.” You can find more info about Linda’s work here and here.

 

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