Lynda Schlosberg: Frequency Tuning

May 1-June 2, 2019
Opening Reception: Friday, May 3, 2019, 5:00-8:00 pm

  • Lynda Schlosberg

    Tuning In (detail), acrylic on panel, 40 x 30 inches, 2019.

    Tuning In
  • Lynda Schlosberg

    Equilibrium Shifting (detail), acrylic on panel, 48 x 72 inches (diptych), 2018.

    Equilibrium Shifting
  • Lynda Schlosberg

    In Search Of (detail), acrylic on panel, 60 x 60 inches, 2018.

    In Search Of
  • Lynda Schlosberg

    Rememberg the Future (detail), acrylic on panel, 48 x 108 inches (triptych), 2018.

    Remembering the Future
  • Lynda Schlosberg

    It's All In Your Mind (detail), acrylic on panel, 48 x 72 inches (diptych), 2019.

    It's All In Your Mind
  • Lynda Schlosberg

    Almost Something (detail), acrylic on panel, 36 x 36 inches, 2019.

    Almost Something
  • Lynda Schlosberg

    Crossing Over (detail), acrylic on panel, 36 x 36 inches, 2019.

    Crossing Over

Artist Page
Press Release
McQuaid, Cate. "Paintings awaken the eye at Kingston Gallery." The Boston Globe, May 8, 2019.
Ruhiu, Kevin. "Went There: Frequency Tuning @ Kingston Gallery." Boston Hassle. May 20, 2019.

Artist Statement

We experience the world with our intellect and physical senses, yet there is also an invisible sea of energy beyond our awareness that surrounds, connects, and influences us. In this work I explore the crossing point between these physical and non-physical worlds. Is there some sort of barrier, or plane, that separates the two? Is it a chasm to be crossed? A wall to be climbed? A tunnel to pass through or a river to float down? Is it a thin veil that obscures vision? Or is it a hazy state of consciousness that one simply 'tunes into' from one side or the other? And is it possible to adjust one's frequency-tuning abilities to move easily between worlds, or to experience both at the same time?

The paintings in this exhibit are inspired by both natural and unnatural elements. Rivers, trees, glaciers and chasms exert themselves across the canvas atop fluid pools of color and intermingled with a multitude of lines and dots as they organize themselves into various arrangements. Color, values and pattern are all used to push space both backwards and forwards simultaneously. In some paintings dark areas juxtaposed with lighter areas read as solid forms hovering in space, and conversely the lighter areas appear as cut-outs pushing the dark areas deeper into space. In other paintings the layers appear more flattened and intermingled yet still force the eye to decide what is foreground and what is background, often not finding a resolution. The eye becomes the tuning device that leads fluidly back and forth between multiple levels of being and eradicates the simple division into one side or the other.

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