Linda King Ferguson Art

This painting on cut linen canvas by Linda King Ferguson depicts a diamond shape that is dominated by a horizontal vesica piscis shape. The two intersecting circles are a dark salmon orange and a deep wine red (left to right). The canvas at the intersection of the two circles has been cut and peeled back to reveal that the back of the painting has been painted pink. While the trangular shape above the interseccting circles has been painted an ashy brown, the lower section has been left raw. Her Equivalence Series began as a feminist project; works that subvert the historically male gaze and a material language speaking of gendered concerns. Her color choices first came from Helen Molesworth’s essay, Painting With Ambivalence, published in WACK! Art of the Feminist Revolution. The Essay includes a large reproduction of Mary Heilmann’s 1979 painting...

This painting by Linda King Ferguson, like all of her work, Depicts an abstaction of the female body. An oblong pink shape jutts out from the top of the diamon-shaped canvas. A teard...

SUNDOG 13 is an acrylic on panel painting belonging to the Sundog series inspired by the meteorological phenomenon of Sundogs (parhelia), occurrences of bright spots straddling the S...

SUNDOG 34 is an acrylic on panel painting belonging to the Sundog series inspired by the meteorological phenomenon of Sundogs (parhelia), occurrences of bright spots straddling the S...

This painting by Linda King Ferguson is painted on linen with a gradient tint, transitioning from red to yellow as our eyes descend the canvas. A hard-edged red section curves diagon...

In this sculptural piece, Linda King Ferguson has cut a piece of linen canvas into a half-diamond shape, with an ellipsis cut-out close to the scalloped right edge. A red cotton thread completes the second half of the diamond shape, then hangs from the bottom corner, evoking the image of a kite. King Ferguson's paintings are abstractions of the female body. She chooses to use linen...

This painting on cut linen canvas by Linda King Ferguson depicts a diamond shaped canvas that is color-blocked into three main sections. The topmost triangular portion of the canvas ...

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SUNDOG 32 is a composition created from two acrylic on panel paintings, belonging to a series inspired by the meteorological phenomenon of Sundogs (parhelia), occurrences of bright spots straddling the Sun in a 22° halo. The composition consists of two singular polygon panels – triangular (upper) and quadrilateral (lower). The forms are put together, creating a dynamic relationship and an illusion of geometric shapes. The line connecting the two juxtaposed polygons is slightly angled, adding movement in the disruption of symmetry. SUNDOG 32 was featured in Linda King Ferguson’s solo exhibition Kissing the Sky at the Channel To Channel...

SUNDOG 22 is an acrylic on panel painting belonging to the Sundog series inspired by the meteorological phenomenon of Sundogs (parhelia), occurrences of bright spots straddling the S...

In this sculptural piece, Linda King Ferguson has cut a piece of linen canvas into a somewhat trapezoidal shape, with a scalloped top edge. A red cotton thread completes the remainder of the diamond shape. King Ferguson's paintings are abstractions of the female body. She chooses to use linen...

SUNDOG 25 is an acrylic on panel painting belonging to the Sundog series inspired by the meteorological phenomenon of Sundogs (parhelia), occurrences of bright spots straddling the S...

SUNDOG 7 is an acrylic on panel painting belonging to the Sundog series inspired by the meteorological phenomenon of Sundogs (parhelia), occurrences of bright spots straddling the Su...

SUNDOG 15 is an acrylic on panel painting belonging to the Sundog series inspired by the meteorological phenomenon of Sundogs (parhelia), occurrences of bright spots straddling the S...

SUNDOG 12 is an acrylic on canvas painting belonging to the Sundog series inspired by the meteorological phenomenon of Sundogs (parhelia), occurrences of bright spots straddling the ...

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SUNDOG 1 is an acrylic on panel painting belonging to the Sundog series inspired by the meteorological phenomenon of Sundogs (parhelia), occurrences of bright spots straddling the Su...

Linda King Ferguson describes her "Equivalence Series" as social bodies; a re-thinking of Modernist figurative abstraction. They are a discursive formal and reductive language. As fi...

This painting by Linda King Ferguson depicts a rectangular linen canvas painted bright orange, with a second layer of deep wine red ellipsis and scalloped edges in the foreground. Red circles dominate the center of the painting in two different sizes. Some of the circles overlap, creating a vesica piscis shape. 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...

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...

This painting by Linda King Ferguson is part of her equivalence series, which began as a feminist project; works that subvert the historically male gaze and a material language speak...

This rectangular painting by Linda King Ferguson is primarily color blocked into two sections, as it is split horizontally down the center into a ...

Linda King Ferguson describes her "Equivalence Series" as social bodies; a re-thinking of Modernist figurative abstraction. They are a discursive formal and reductive language. As fi...

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SUNDOG 2 is an acrylic on panel painting belonging to the Sundog series inspired by the meteorological phenomenon of Sundogs (parhelia), occurrences of bright spots straddling the Sun in a 22° halo. Minimalistic, but also quite complex, the used colors reflect the optimism and lightness found in nature, the artist’s main muse. Here, the palette of violet, blue and red, both contrasting and complementary, reminds us of the unique and various colors of the sunset. SUNDOG 2 was featured in Linda King Ferguson’s solo exhibition Kissing the Sky at the Channel To Channel...

SUNDOG 35 is an acrylic on panel painting belonging to the Sundog series inspired by the meteorological phenomenon of Sundogs (parhelia), occurrences of bright spots straddling the S...

SUNDOG 5 is an acrylic on linen painting belonging to the Sundog series inspired by the meteorological phenomenon of Sundogs (parhelia), occurrences of bright spots straddling the Sun in a 22° halo. Uniquely to other pieces in the series, the prismatic shapes were painted on linen, introducing a new way of perceiving the Sundog experience. When asked what feeling she wants to bring back to the world, Ferguson points to optimism - which reflects in this bright, expressive piece. SUNDOG 5 was featured in Linda King Ferguson’s solo exhibition Kissing the Sky at the Channel To Channel...

SUNDOG 10 is an acrylic on panel painting belonging to a series inspired by the meteorological phenomenon of Sundogs (parhelia), occurrences of bright spots straddling the Sun in a 22° halo. The painting consists of triangular and quadrilateral forms in a red hue palette. Just like in other Sundog paintings, the color scheme is directly inspired by nature, with red tints referring to the element of fire and autumn leaves. SUNDOG 10 was featured in Linda King Ferguson’s solo exhibition Kissing the Sky at the Channel To Channel...

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SUNDOG 8 is an acrylic on panel painting belonging to the Sundog series inspired by the meteorological phenomenon of Sundogs (parhelia), occurrences of bright spots straddling the Su...

This painting on cut linen canvas by Linda King Ferguson is primarily color blocked into three sections. The leftmost rectangular section is a bright green color, and the rightmost section is a wine red. These two sections are separated by a golden yellow/orange line, that has been cut in a teardrop shape, peeling back from the mother canvas to reveal that the back of the canvas has been painted pink. Her Equivalence Series began as a feminist project; works that subvert the historically male gaze and a material language speaking of gendered concerns. Her color choices first came from Helen Molesworth’s essay, Painting With Ambivalence, published in WACK! Art of the Feminist Revolution. The Essay includes a large reproduction of Mary Heilmann’s 1979 painting...

This painting by Linda King Ferguson is part of her equivalence series, which began as a feminist project; works that subvert the historically male gaze and a material language speaking of gendered concerns. While typically, King Ferguson paints both sides of the canvas and cuts a flap on the the frontside to reveal the color of the back of the canvas, she unexpectedly does the opposite here. The painting is hung from the "frontside" of the canvas, revealing to us the raw edges of her linen canvas, stapled to the stretchers. Two oblong shapes of pink and red dominate the center of the painting. A thin semioval cut has been made inside of both of these shapes. Her color choices first came from Helen Molesworth’s essay, Painting With Ambivalence, published in WACK! Art of the Feminist Revolution. The Essay includes a large reproduction of Mary Heilmann’s 1979 painting...

This painting by Linda King Ferguson depicts a red diamond canvas with a Vesica Piscis shape in the center. The color of the Vesica Piscis is a gradient, transitioning from a maroon ...

This painting on cut linen canvas by Linda King Ferguson depicts a diamond shape that is halved horizontally by a color break. The top triangular section on the diamond is a salmon o...

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 receive...

This painting by Linda King Ferguson is part of her equivalence series, which began as a feminist project; works that subvert the historically male gaze and a material language speaking of gendered concerns. The diamond shaped canvas is primarily a brown cardboard color, with two circles dominating the center of the composition. Stacked vertically, the topmost circle is a light lavender color, and the lower circle is a creamy, salmon orange. Two cuts have been made in the canvas on either side of the center, where the edges of the two circles meet. Her color choices first came from Helen Molesworth’s essay, Painting With Ambivalence, published in WACK! Art of the Feminist Revolution. The Essay includes a large reproduction of Mary Heilmann’s 1979 painting...

This painting on cut linen canvas by Linda King Ferguson depicts a diamond shape that is halved horizontally by a color break. The top triangular section on the diamond is a brown ca...

This abstract painting by Linda King Ferguson is part of a series painted for her show, "The Waiting Room," at Channel to Channel. In this particular painting, a curved, carefully re...

Linda King Ferguson describes her "Equivalence Series" as social bodies; a re-thinking of Modernist figurative abstraction. They are a discursive formal and reductive language. As fi...

Linda King Ferguson describes her "Equivalence Series" as social bodies; a re-thinking of Modernist figurative abstraction. They are a discursive formal and reductive language. As fi...

Linda King Ferguson describes her "Equivalence Series" as social bodies; a re-thinking of Modernist figurative abstraction. They are a discursive formal and reductive language. As fi...

Linda King Ferguson describes her "Equivalence Series" as social bodies; a re-thinking of Modernist figurative abstraction. They are a discursive formal and reductive language. As fi...

Linda King Ferguson describes her "Equivalence Series" as social bodies; a re-thinking of Modernist figurative abstraction. They are a discursive formal and reductive language. As fi...

Linda King Ferguson describes her "Equivalence Series" as social bodies; a re-thinking of Modernist figurative abstraction. They are a discursive formal and reductive language. As fi...

Linda King Ferguson describes her "Equivalence Series" as social bodies; a re-thinking of Modernist figurative abstraction. They are a discursive formal and reductive language. As fi...

Linda King Ferguson describes her "Equivalence Series" as social bodies; a re-thinking of Modernist figurative abstraction. They are a discursive formal and reductive language. As fi...