diana lynn

statement

 

When I paint and create installations, I leave openings for grace and the unexpected. I start in a direction I can't predict an ending for, and try to stay accident-prone, hoping for highs no less thrilling than stumbling on an arrowhead lying in the middle of a trail. When that's going well, the work can stop me in my tracks and pull me into absolute awareness. 

 

 

My finished work is often humorous, sometimes dark, with inner-world mythic narratives of autobiographical and archetypal content. 

 

Currently, the painting series revealed, lays bare wild animals on commercial camouflage cloth. Each animal reveals itself during the process, some immediately, some more slowly, and my putting a brush down on printed canvas makes for an unusually active play between the medium, myself and the content. Camouflage patterns, designed to hide, are repurposed to reveal. Works in progress include a forest of crows, spawning salmon, and a lone wolf.

 

Some of my Installations, such as Impermanent Marks, are interactive and  immersive, while others, such as Aunt Helen, are their own scaled down three-dimensional worlds.

 

My photogrpahy and photographic curating cares about how we humans  interact, what we mean to one another, and how we see ourselves. I'm always on the lookout  for  visual clues, like bitten fingernails on a new father's hand,  a baby laughing too hard to keep his eyes open, or a tired mother's gesture that says "Get over here NOW!"

 

And sometimes poems come out of paintings or  photos, and sometimes, harder, a painting comes out of a poem. 

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