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  • Design Credit: Samantha Todhunter Design Ltd., Photo Credit: Oliver Clarke. Dimensions: H 20 in. x W 16 in.
  • Design Credit: Lucy Harris Studio, Photo Credit: Francesco Bertocci. Dimensions: H 20 in. x W 16 in.
  • Design Credit: Timothy Godbold, Photo Credit: Karl Simone. Dimensions: H 20 in. x W 16 in.
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Linda King Ferguson
EQUIVALENCE 80- Oil and Acrylic on cut Linen - Orange, Pink Abstract Geometric

2020

$2,700

About

This painting by Linda King Ferguson is a geometric abstraction inspired by the female body. Circles, ellipses and scalloped edges decorate the canvas in Salmon orange, wine red, and pink. A circle is cut out of the upper right side of the painting, but a very small part of the lower edge remains uncut, to allow the circular cutout to hang on the canvas, and to reveal that the back side of the canvas has been painted red. Linda King Ferguson lives and works in Munising, MI and Nashville, TN. She is in residence semi-annually in Brooklyn, NY. She has a MA from Rhode Island School of Design, and received an MFA from Vermont College of Fine Arts. She also has studied at Academia Di Belle Arti in Perugia, Italy, and Penland School of Crafts. Ferguson has been awarded several art residencies including Ragdale and The Morris Graves Foundation and exhibited widely, including the exhibitions, Fiber Optics, Minus Space, Brooklyn, NY and Stomach Acid Reflux. Gallery Statement: Ferguson has been working on her ongoing project called The Equivalence Series for nearly six years. The work is sourced from the abstracted feminine body. To Linda, there are a myriad of connections between the human body and empirical geometry. The dynamism of forms, the curved edges of a perfect circle. Form generates from nature’s geometric principles, and felt gestures become the curl and curve of opened flapped forms. Lines as edges traverse smooth surfaces, defining protective outside layers and exposing interior vulnerable absences. These careful and stilled material glimpses signify a reflexive meaning.Through a feminist lens, the Equivalence Series sources hues from lipstick and nail polish sample charts. Linen, both raw and painted, is like the haptic texture of skin. Almost all of the works in this exhibition were made during the pandemic and over this past year with the tensions of isolation that hampers and strains our social relationships. These conditions give a very specific context to art making. We are required to shelter in place, making our homes perpetual waiting rooms as we rely on the intimate distance of our devices to communicate and connect. In isolation, it’s these threads of connection that assure us of our humanity while we practice the acts of being and making through emotive gestures. We must plan and work, and heal and hope through a shared empathy while change is being made. Linda argues that an artist’s studio is not unlike a Waiting Room; A place between of careful measures, uncertainties and anticipation.

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