Linda Leslie Brown

  • Linda Leslie Brown

    Rushin', metal, plastic, paper clay, concrete rubble, ceramic, plaster, pigments, 2015.

    Rushin'
  • Linda Leslie Brown

    Nether Lips, metal, paper clay, conch shell, plastic, plaster, pigments, silicone, 2015.

    Nether Lips
  • Linda Leslie Brown

    Angler, plastic, paper clay, ceramic, crystal, plaster, pigments, stone, 2015.

    Angler

Artist's Statement

My recent sculptural work engages the interdependent relationships between nature, objects and viewers' creative perception. These pieces are intimate in scale, no larger than the size of your head, and they are emphatically hand made. My work is biased toward process: growth, change, and falling apart. I am immersed in the language of making, thoroughly engaged with tactile, phenomenological experience while creating work that merges the somatic and mental imaginations.

These pieces explore a morphogenic vocabulary of layered masses, planes and openings. The forms are packed together, both additive and layered yet also porous and eroded. They are multicolored and crenellated like a coral reef. Materials are varied: I use metal, wood, paper clay, plaster, pigments, glass, rubber and stone in a way that is rich and transformative. Simultaneously bold and vulnerable, these works are half created and half destroyed. Holes penetrate the surfaces. Many pieces are bored completely through, revealing a hollow center like a vessel. The yielding texture of the paper clay retains the traces of making and indicates a haptic language of emotion. My pieces are rife with allusions to the body. At the same time they suggest the plastic, provisional, and uncertain world of a new and transgenic nature, where corporeal and mechanical entities recombine.

In the 1950's kitsch "TV lamps" and other decorative objects were assembled from shells, wicker, and other souvenir materials to celebrate visions of "paradise." The vision presented in my works is more problematic. Appearing to have been retrieved after a long immersion in the earth or the ocean, they seem to bear inscriptions of history and impermanence. The prefiguration of catastrophe, or what the writer Marianne Templeton calls "future ruin," lives within their celebratory gestures and colors, while cracking and erosion of the surfaces belie the work's insouciant attitude.

Alternately funny, disturbing, obvious and obscure, my sculptures are made with force, joy and care.

Exhibitions

Relay, January 4-29, 2017
More Holes, May 4-29, 2016
I Know Just What You're Saying, January 6-31, 2016
How to Feel Real, December 2-27, 2015
Ground Cover: Contemporary Abstraction between Figure and Ground, September 3-28, 2014
Chimeric, July 3-28, 2013
Nurse Log, February 29-April 1, 2012
XXX: Kingston Gallery Annual Members' Exhibition Thirty Years as an Artist Run Gallery, September 5-30, 2012
Kingston Gallery Annual Members' Exhibition, August 31-October 2, 2011

Press Releases + Media

"Residency: Linda Leslie Brown on Haystack Mountain School of Crafts." Kingston Blog Thinking About Art Out Loud, June 30, 2017.
Heather Davis, "Of the Dense and Pourous: More Holes by Linda Leslie Brown." Kingston Blog Thinking About Art Out Loud, May 27, 2016.
Alexander Castro, "See it Before It's Gone: Linda Leslie Brown at Kingston Gallery." Big Red and Shiny, May 25, 2016, Feature.
Olivia J. Kiers, "A Hole Other World: Linda Leslie Brown's 'More Holes.'"Art New England Online, May 11, 2016, Portfolio.
Wild Elegance: New Sculptures by Linda Leslie Brown
Kingston Gallery Hosts How to Feel Real, a Group Exhibition About Authenticity in a Virtual Age