My creative practice is a connection to found objects and correspondence that concerns memory and time. It involves elements of taxonomy or classification as objects, images and marks are grouped, situated and layered according to the particular narrative being explored.
I begin each piece with an idea, inspired by found objects, fragments of poetry, prose, letters or conversations heard on the radio. Using texture over the surface, shapes over image, and line over tone, the layers build to create a sense of history. Within this environment. I fuse collage, assemblage, etchings, lithographs, or image transfer with paint or ink., constructing and de-constructing. I use a limited palette, consisting of rich earthy hues, triggering remembrance. The paintings, low relief assemblages and prints result from examination and collection of small objects collected from nature, discovered in second-hand stores or sometimes gifted to me, as well as paper ephemera. I gravitate towards materials with a sense of history. The creative process is an ongoing game of exploration where the unexpected is always welcome. The work becomes my guide as I respond to the surface as it develops, inventing as I go.
The work of other artists inspires me, primarily Eva Hesse, Anselm Keifer, Louise Bourgeois, Betty Goodwin and Lyndal Osbourne. I use a dictionary, the internet and books to research a subject. Almost anything can be an influence—it’s important to remain curious and not be afraid to take chances with one’s work. It would seem that I am compelled to work in this way in order to meld my concerns about the objects and words with the characteristics of the content. The grid format becomes windows to the past, provoking memories and encouraging closer scrutiny. The result, very often, is a commentary intended for speculation and intuitive comprehension, though not necessarily understood by the viewer.
Linda Finn 2018