Linda Christensen Art
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Artist: Linda Christensen
Green Dress
By Linda Christensen
Located in Park City, UT
“I begin this short essay with my artists’ statement from 1997 because it illustrates my focus on emotion instead of on subject matter starting early on. I approached the idea of writing about what I paint back then with dread and tried to bypass it by being as honest as possible about my process. I’d like to think that I paint anything I want because through paint I can express how I feel.
I started training to be an artist in early childhood. I studied texture. I learned about composition. I played with color and observed the beauty of line. My methods were unconventional and invented by me. Many different things inspired me: Cheerios in milk, clouds, hands in food, dry dusty dirt, wet mud puddles, coloring books, fashion photos in the newspaper and my keen need to observe my surroundings. When asked what I wanted to be when I grew up I had no answer. I just wanted to watch, and to observe the world around me.
I’ve worked for years on a response to that complicated question “what is the work about?” I’ve developed all kinds of stories that seem to make sense at the time, but I have to ask, “isn’t this the same question as ‘what do you want to be when you grow up?”’ I am drawn to the figure, and to capturing physical expression in all types of situations, but especially when we are on our own. The body carries emotion, and most people are unaware that they reveal something of themselves when observed in private moments. When I was young I realized that I could easily understand the unspoken just by watching. It felt like a strange and isolating gift – and sometimes a curse – and I often felt confused and acted out in anger when the words didn’t match what I saw. But I still recognize all kinds of emotion there, and whether what I see is true or not, I relish the vulnerability of the moment.
Color is another important tool for me. It’s a self-taught endeavor and one that I explore daily. Color mixing is similar to building flavors in a soup. A soup with just salt is watery and uninteresting. As in cooking, I pay close attention from the first layers what each color feels like in terms of its value, whether it’s warm or cool, and how it fits the composition. I am looking for something that feels harmonious with my nervous system. I begin with abstract shapes, then ask, “Is this shape interesting? Does this color work next to that one? Is it too strong? Is it helpful to the overall composition?” The more complex the mix, the more likely it is to hold my attention, and allow me to linger. Those puddles of paint sitting on my six foot glass palette...
Category
2010s Linda Christensen Art
Materials
Canvas, Acrylic
Time
By Linda Christensen
Located in Park City, UT
“I begin this short essay with my artists’ statement from 1997 because it illustrates my focus on emotion instead of on subject matter starting early on. I approached the idea of writing about what I paint back then with dread and tried to bypass it by being as honest as possible about my process. I’d like to think that I paint anything I want because through paint I can express how I feel.
I started training to be an artist in early childhood. I studied texture. I learned about composition. I played with color and observed the beauty of line. My methods were unconventional and invented by me. Many different things inspired me: Cheerios in milk, clouds, hands in food, dry dusty dirt, wet mud puddles, coloring books, fashion photos in the newspaper and my keen need to observe my surroundings. When asked what I wanted to be when I grew up I had no answer. I just wanted to watch, and to observe the world around me.
I’ve worked for years on a response to that complicated question “what is the work about?” I’ve developed all kinds of stories that seem to make sense at the time, but I have to ask, “isn’t this the same question as ‘what do you want to be when you grow up?”’ I am drawn to the figure, and to capturing physical expression in all types of situations, but especially when we are on our own. The body carries emotion, and most people are unaware that they reveal something of themselves when observed in private moments. When I was young I realized that I could easily understand the unspoken just by watching. It felt like a strange and isolating gift – and sometimes a curse – and I often felt confused and acted out in anger when the words didn’t match what I saw. But I still recognize all kinds of emotion there, and whether what I see is true or not, I relish the vulnerability of the moment.
Color is another important tool for me. It’s a self-taught endeavor and one that I explore daily. Color mixing is similar to building flavors in a soup. A soup with just salt is watery and uninteresting. As in cooking, I pay close attention from the first layers what each color feels like in terms of its value, whether it’s warm or cool, and how it fits the composition. I am looking for something that feels harmonious with my nervous system. I begin with abstract shapes, then ask, “Is this shape interesting? Does this color work next to that one? Is it too strong? Is it helpful to the overall composition?” The more complex the mix, the more likely it is to hold my attention, and allow me to linger. Those puddles of paint sitting on my six foot glass palette...
Category
2010s Linda Christensen Art
Materials
Acrylic, Canvas
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Journal
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On Linda Christensen:
"Finding her way back to painting after a twenty-plus year hiatus for marriage and family, Christensen returned to school, earning a Bachelor of Arts and graduate degree from the University of California, Santa Cruz. While there, she discovered the San Francisco Bay Area Figurative group of painters, in particular artist David Park whose work especially caught her attention. Park had broken with pure Abstract Expressionism to found a new genre that returned the figure to painting just when most had considered it irrelevant. Christensen was captivated by his composition of a woman hanging her laundry—which evoked a visceral memory of her mother—and by his gestural swaths of color. Park’s dramatic handling of paint and his deft integration of figures resonated deeply with her.
Except for a few forays into landscape and interiors, Christensen’s own work also revolves around the human figure. No doubt her encounter with David Park’s approach, and her subsequent esteem for his fellow Bay Area figurative artist Richard Diebenkorn helped to cement her own inclinations toward figurative abstraction. Diebenkorn’s influence is especially apparent in her handling of the picture plane, where depth is indicated through juxtaposing panels of blended color and creamy brushstrokes. But, as a devoted and observant people watcher, Christensen is always more interested in the emotional undercurrents inherent in ordinary human experience, and so seeks that elusive moment when a person turns inward and “reconnects” with their interior self. Christensen’s unidentifiable women subjects...
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Linda Christensen art for sale on 1stDibs.
Find a wide variety of authentic Linda Christensen art available for sale on 1stDibs. If you’re browsing the collection of art to introduce a pop of color in a neutral corner of your living room or bedroom, you can find work that includes elements of blue and other colors. You can also browse by medium to find art by Linda Christensen in oil paint, paint and more. Much of the original work by this artist or collective was created during the 21st century and contemporary and is mostly associated with the abstract style. Not every interior allows for large Linda Christensen art, so small editions measuring 12 inches across are available. Customers who are interested in this artist might also find the work of Kristy Chettle, Terrell James, and Mark Wilson. Linda Christensen art prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $3,600 and tops out at $21,800, while the average work can sell for $13,800.