Seemingly disparate visions- the rawness of Mayor’s work and the careful, precise style of Lynch- are brought together in “A Fine Line.” These two artists approach surface manipulation with a variety of techniques.
Unlike her re-stitched prints, Mayor takes a methodical approach to “Playing with Sol”. Inspired by a wall drawing of Sol LeWitt, Mayor repeats a mathematical pattern sequentially. “More Lingo” expresses Mayor’s desire to create shapes that are totally abstract. Her approach – whether disorderly or methodical – elicits a body of work that is playful and exciting.
Lynch incises into the enamel surface creating intricate patterns. Oil paint wiped across these surfaces is caught in the incised lines giving them a quality of a printed image. Lynch’s work has an organic quality to them – the patterns are based on observations from nature, such as branching, or cracking. Some appear biological, reminiscent of cells under a microscope. The Division Series began as paintings. By working three-dimensionally, a real, rather than illusory presentment is suggested. “These pieces seem to stir memories of important monuments to daily life”, says Lynch.
Frederick Lynch has exhibited through the U.S., and his work is found in numerous collections, such as the DeCordova Museum in Lincoln, Massachusetts, the Portland Museum of Art, and the Farnsworth Museum in Rockland, ME.