Gathering Light
Reception
Join us in September and experience David Linn's transformation of our space into a labyrinth full of discovery and contemplation. On display will be a tremendous flowering of work and ideas, including allegorical paintings, mixed media illuminated boxes, painted foundations (two and three dimensional) suspended from the ceiling as sculptural objects, conceptual "tools" presented in ceremonial contexts and sound media relating to metaphysical ideas of light and darkness. "Gathering Light" is 46 year old Linn's second solo exhibition with Frey Norris Gallery.
About the Art
Sublimation
video installation
dimensions variable 2006
"Sublimation suggests a transformation from one state to another, a process of purification, of purging and rarefying, of one's nature being altered toward the sublime — this process is an ongoing, repetitive, and cumulative one rather than a single event in life."
The Expectation
Charcoal and resin on panel
40 x 62 in. 2006
"I envisioned myself in this piece as a purposely blinded wanderer in the midst of a vast and dim landscape … perhaps I am testing the wind with the expectation of discovering some undefined truth- either about myself, or about the terrain through which I wander."
Divest
Charcoal and resin on panel
60 x 36 in. 2006
"Divest suggests the necessity of freeing oneself of those elements which often provide the greatest temporal security, but in truth are often mirages and decoys, potentially impeding our acquisition of those attributes which invite critical inward change and progression."
Interview with Artist
Artist David Linn talks with Raman Frey, co-owner of Frey Norris Gallery, about his second solo show Gathering Light.
Raman Frey: Why "Gathering Light?" What does this title mean to you?
David Linn: Gathering Light suggests several things to my mind - one being the act of literally gathering, gleaning, or accumulating light or truth in the midst of a sometimes dark, ambiguous, and dangerous world. Gathering Light also refers to the sense I have that we live in an era where there is a greater sum of truth and light available than at any other time in world history.
RF: Today's art world considers work with overtly spiritual content to be almost taboo. With the exception of artists like Bill Viola who sometimes discuss the covert spiritual content of their work, we've been wandering in a pretty secular intellectual jungle. You somehow approach this neglected terrain with dedication and a distinctive aesthetic. You are neither obvious nor saccharine. Do you ever feel isolated, like a pariah, for focusing as diligently as you do on universal spiritual, religious or existential themes?
DL: I'm driven and sustained by an innate sense of "mission"-- a powerful belief that I am doing what I am supposed to do. Sometimes I do feel like a voice in the wilderness. I don't consider myself prophetic, rather I feel so strongly about my work and what I'm trying to say, that at times it's disheartening to see much of what I do fall on deaf eyes. I'm sure much of what I do appears a bit foreign or cryptic to many viewers, so I can't complain that my name isn't a household word. If I wanted fame and riches I certainly wouldn't be walking this path.
RF: What new media are you working in and how do they relate to your previous sepia toned paintings? How do you foresee the wide range of materials and media working together in "Gathering Light?" Is there some kind of synergy you're after?
DL: At the moment I'm immersed in more diverse media than at any point in my life. In addition to the re-introduction of color into my paintings, I'm working with video and sound installation, large scale charcoal and resin drawings, digitally and chemically manipulated imagery, self-illuminated works, sculpture, multi-panel assemblages, and kinetic work.
The relationship between this "new media" and my previous monochromatic work is contained within the subject matter and imagery, the concepts and symbolism of my work, my stance as an artist, the way I view the world and perceive undercurrents of meaning in things that pass unnoticed by many. In other words, my work hasn't really changed at its core. I'm simply enlisting some new voices in the presentation of my vision, and this is altering some of the surface of the work.
Many of these voices have a conceptual purpose; for example, the creation of "sublimated" imagery through physical and chemical manipulation of the work is a process- almost a ceremonial one- that alludes to spiritual transformation. I was fortunate that, while in high school, one of my art teachers was Charles Garoian, who is now the director of the School of Visual Arts at Penn State. While being drawn to the works of High Renaissance and Baroque masters, he introduced me to conceptual and performance art movements and opened some doors to other ways of expressing thought.
RF: Can you speak a little about your technique as a draftsman and painter? Why spend so much time on painstakingly meticulous methods that have been abandoned by many contemporary artists?
DL: I learned to draw and paint by learning how to see. I discovered about twenty years ago that the way I paint is the most natural and honest way for me. At the same time, I am acutely aware of my myriad weaknesses as an artist. I will spend my life trying to perfect my work, while realizing that part of what makes art so human are the weaknesses trapped within it.
RF: What do you hope a visitor to "Gathering Light" will walk away with?
DL: I want visitors to experience the sense of having been in a sacred space. To be encouraged to look a bit deeper into the questions of life.
About the Art
Sublimation
video installation
dimensions variable 2006
"Sublimation suggests a transformation from one state to another, a process of purification, of purging and rarefying, of one's nature being altered toward the sublime — this process is an ongoing, repetitive, and cumulative one rather than a single event in life."
The Expectation
Charcoal and resin on panel
40 x 62 in. 2006
"I envisioned myself in this piece as a purposely blinded wanderer in the midst of a vast and dim landscape … perhaps I am testing the wind with the expectation of discovering some undefined truth- either about myself, or about the terrain through which I wander."
Divest
Charcoal and resin on panel
60 x 36 in. 2006
"Divest suggests the necessity of freeing oneself of those elements which often provide the greatest temporal security, but in truth are often mirages and decoys, potentially impeding our acquisition of those attributes which invite critical inward change and progression."
Interview with Artist
Artist David Linn talks with Raman Frey, co-owner of Frey Norris Gallery, about his second solo show Gathering Light.
Raman Frey: Why "Gathering Light?" What does this title mean to you?
David Linn: Gathering Light suggests several things to my mind - one being the act of literally gathering, gleaning, or accumulating light or truth in the midst of a sometimes dark, ambiguous, and dangerous world. Gathering Light also refers to the sense I have that we live in an era where there is a greater sum of truth and light available than at any other time in world history.
RF: Today's art world considers work with overtly spiritual content to be almost taboo. With the exception of artists like Bill Viola who sometimes discuss the covert spiritual content of their work, we've been wandering in a pretty secular intellectual jungle. You somehow approach this neglected terrain with dedication and a distinctive aesthetic. You are neither obvious nor saccharine. Do you ever feel isolated, like a pariah, for focusing as diligently as you do on universal spiritual, religious or existential themes?
DL: I'm driven and sustained by an innate sense of "mission"-- a powerful belief that I am doing what I am supposed to do. Sometimes I do feel like a voice in the wilderness. I don't consider myself prophetic, rather I feel so strongly about my work and what I'm trying to say, that at times it's disheartening to see much of what I do fall on deaf eyes. I'm sure much of what I do appears a bit foreign or cryptic to many viewers, so I can't complain that my name isn't a household word. If I wanted fame and riches I certainly wouldn't be walking this path.
RF: What new media are you working in and how do they relate to your previous sepia toned paintings? How do you foresee the wide range of materials and media working together in "Gathering Light?" Is there some kind of synergy you're after?
DL: At the moment I'm immersed in more diverse media than at any point in my life. In addition to the re-introduction of color into my paintings, I'm working with video and sound installation, large scale charcoal and resin drawings, digitally and chemically manipulated imagery, self-illuminated works, sculpture, multi-panel assemblages, and kinetic work.
The relationship between this "new media" and my previous monochromatic work is contained within the subject matter and imagery, the concepts and symbolism of my work, my stance as an artist, the way I view the world and perceive undercurrents of meaning in things that pass unnoticed by many. In other words, my work hasn't really changed at its core. I'm simply enlisting some new voices in the presentation of my vision, and this is altering some of the surface of the work.
Many of these voices have a conceptual purpose; for example, the creation of "sublimated" imagery through physical and chemical manipulation of the work is a process- almost a ceremonial one- that alludes to spiritual transformation. I was fortunate that, while in high school, one of my art teachers was Charles Garoian, who is now the director of the School of Visual Arts at Penn State. While being drawn to the works of High Renaissance and Baroque masters, he introduced me to conceptual and performance art movements and opened some doors to other ways of expressing thought.
RF: Can you speak a little about your technique as a draftsman and painter? Why spend so much time on painstakingly meticulous methods that have been abandoned by many contemporary artists?
DL: I learned to draw and paint by learning how to see. I discovered about twenty years ago that the way I paint is the most natural and honest way for me. At the same time, I am acutely aware of my myriad weaknesses as an artist. I will spend my life trying to perfect my work, while realizing that part of what makes art so human are the weaknesses trapped within it.
RF: What do you hope a visitor to "Gathering Light" will walk away with?
DL: I want visitors to experience the sense of having been in a sacred space. To be encouraged to look a bit deeper into the questions of life.
