 L inda Post's paintings, monotypes, and pastels speak to the tenuous balance of conscious and unconscious and the psychology of the cusp of adolescence. Post’s intensely pigmented, light-filled pieces utilize the ambiguous tones of twilight or dawn and the division between sea and sky to explore the transitional nature of identity and relationships.
Linda Post's stunning paintings and pastels
of flying and swimming figures explore the deep innerworkings of human nature. Her work has been exhibited
widely throughout New England and New York including the
Museum at the Rhode Island School of Design, The Rose
Art Museum, The Newport Art Museum, The Springfield Art
Museum, and The Attleboro Art Museum. Her paintings have
graced the covers of The Gettysburg Review, the book Return
of the Great Goddess, and the Return of the Goddess Calendar.
Read Linda Post's Artist Statement here.
Read the article on Linda Post featured in Preview magazine. (PDF, 5MB)
Review in American Art Collector Magazine, November 2008.
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paintings
Linda Post’s new series of oil paintings chronicle the psychology of the cusp of adolescence. The landscape is easily recognizable as southeastern Massachusetts, Cape Cod and the Islands, where the artist spent much of her own childhood and adolescence. Coming back to oils over the last five years, after years of working in soft pastels, Post has immersed herself in the seductive brushwork of oil-laden paint. Even when applying oil paints, she often puts the paintbrush aside - leaving fingerprints, scratches and the mark of her hands in the pools of color on the canvas.
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pastels
The pastel paintings, produced over the last twenty-five years, comprise Post's largest body of work to date. She says, 'Working with soft pastel sticks is a natural extension of my fingers into the realm of pure pigment. I am much more enamored of the sticks as they wear down to tiny stubs of color, working together with my hands in a rhythm of sweeping, smearing and staccato motions.
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monotypes
Post has been making monotypes since 1978. Her monotypes are essentially printed paintings, each one a one-of-a-kind piece. She uses a very time-consuming method of working in layers on zinc plates with oil pastels, oil paints, lithographic crayons and hand-cut stencils, often using the ghost image left on a plate or a paint-laden stencil to launch a series. The painted plate is then heated and printed on Arches Cover or Rives BFK on an etching press. She has led numerous workshops and lectured at colleges and art centers on this remarkable medium. Her most recent series echoes (and often predates) much of the imagery in her new oil paintings.
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