Meg Lindsay

"I paint the light through relationships of color"

 

 Clump of Trees   24 x 30" oil on canvas

Clump of Trees

24 x 30" oil on canvas

 Blue Squares   30 x 36", oil on canvas

Blue Squares

30 x 36", oil on canvas

 Pink Sunset over Hudson   20 x 26", oil on canvas

Pink Sunset over Hudson

20 x 26", oil on canvas

 Owl Houses Orange I   26 x 40", oil on canvas

Owl Houses Orange I

26 x 40", oil on canvas

 Purple Bottle and Guitar   20 x 24", oil on canvas

Purple Bottle and Guitar

20 x 24", oil on canvas

 Big Blue/Still Life   38 x 46", oil on canvas

Big Blue/Still Life

38 x 46", oil on canvas

 Pocantico Cows   20 x 24", acrylic on canvas

Pocantico Cows

20 x 24", acrylic on canvas

 Owl Houses Orange II   26 x 40", oil on canvas

Owl Houses Orange II

26 x 40", oil on canvas

 Small Green Abstract   12 x 9", oil on canvas

Small Green Abstract

12 x 9", oil on canvas

 Hudson Through Slender Tree Trunks   24 x 20", acrylic on canvas.

Hudson Through Slender Tree Trunks

24 x 20", acrylic on canvas.

 Pink Tulips with Limes and Orange   22 x 28", oil and acrylic on canvas

Pink Tulips with Limes and Orange

22 x 28", oil and acrylic on canvas

 Blue Symphony   41.5 x 36", oil on canvas

Blue Symphony

41.5 x 36", oil on canvas

 Dragonfly/Cow Grid   20 x 24", oil on canvas

Dragonfly/Cow Grid

20 x 24", oil on canvas

 

Artist Statement

As a colorist, I paint the light through relationships of color. 

My landscapes are built from a tawny field, rows of stubby stalks that melt off into shadows, endless cloud puffs, and sometimes the illusory bulk of a motionless owl or a sheep munching straw, its knees a knobby call for scratches in ink.

Searching for a subject's 'language,' I work many versions at once, start 'realistic,' whatever that is (isn't a painting simply marks on a flat surface, to create an illusion of some other thing?). See how the light strikes the tips of fluffed feathers on that owl. Methodically I photograph, sketch in graphite, charcoal, or ink to feel subtle variations of tone and shape. Shifting into luminous oils and the unpredictable wetness of translucent layer upon layer, brings lucky accidents. 
An interior message emerges.

Artists must study the technical rudiments of craft, and, to avoid cliches, see what other artists have done. Yet, the creativity of a painter depends on specificity, the selection of a color, its aesthetic weight and thickness. 

Even working regularly, laziness remains the most dangerous trap -- ignoring the tiny thought, the whisper of a suggestion, so quiet, that maybe a softer (or brighter) orange/green/black might be better. How to resist the lethargy of momentum? The unwillingness to stop. Inertia. How to put down the brush, to scrounge through paint tubes, to find -- no guarantee -- an alternative less predicted?

A canvas becomes heavy with 10, 20 layers of paint. 

Like the slow cooking of a soup into an intense, nourishing broth, the painter extracts from the original, distills into an essence unrecognizable from the original ingredients. Irrelevant details drop off. Less is better. Abstraction. A fine portrait is compiled from selecting one or two predominant characteristics, not every whisker but the swath of an intense black beard through the flick of a thick sable brush, wet in India ink. A child of 8 does, what the adult relearns.

 

Artist Resume / Curriculum Vitae
 

www.meglindsayartist.com


SOLO EXHIBITIONS
2012 Martucci Gallery, Irvington, NY
2008 Gallery at Woodloch, Hawley, PA
2007 Sarah Lawrence College Gallery, Bronxville, N.Y.
2000 Retrospective, Sarah Lawrence College Gallery, Bronxville, N.Y.
1973 Mamaroneck Artist Guild, Inc., Mamaroneck, N.Y.


GROUP EXHIBITIONS
2011 Sweet Grass, Tarrytown, N.Y. 
2010 Kiesendahl + Calhoun, Pleasantville, N.Y.
2007 Gallery Yellow, Cross River, N.Y.
2006 Upstream Gallery, Dobbs Ferry, N.Y.
2002 Attleboro Museum, Attleboro, Mass.
2000 ART OF THE HUDSON, Westchester Arts Council, White Plains, N.Y.
ART OF THE HUDSON RIVER, Art on Main Street, Yonkers, N.Y.
1998 Nat. Assoc. Women Artists, New World Art Center, New York,N.Y.
Gallery Art 54, New York, N.Y.
1996 Parkersburg Art Center, Parkersburg, West Virginia
Port Washington Library, Port Washington, N.Y.
Printmaking Council of New Jersey, Sommerville, N.J.
1995 Marist College Gallery, Poughkeepsie, N.Y.
SHOWCASE 95, Lever House, New York, N.Y.
University of Arkansas at Little Rock Gallery, Little Rock, Arkansas
Stevens College Gallery, Columbia, Missouri
Alexandria Museum, Alexandria, Lousiana
1994 395 West Broadway Gallery, New York, N.Y.
SURFACES, The Gallery, Hastings-on-Hudson, N.Y.
Hudson River Gallery, Ossining, N.Y.
1993 du Pont Gallery, Washington & Lee University, Lexington, Virginia
Hillyer Gallery, Smith College, Northampton, Mass.
Wilkes Art Gallery, North Wilkesboro, N.C.
1992 Olana, Hudson, N.Y.
Kraushaar Galleries, New York, N.Y.
Garrison Art Center, Garrison, N.Y.
1991 The NATURAL PERCEPTION, The Gallery, Hastings-on-Hudson, N.Y.
The CURRENT RIVER VIEW, The Gallery, Hastings-on-Hudson, N.Y.
1990 HUDSON RIVER CONTEMPORARY ARTISTS, Hudson River Museum, Yonkers, N.Y.
ART of NORTHEAST USA, Silvermine Guild Arts Center, New Canaan, Ct.
1985-1986 Obsessions Gallery, Lake Placid, N.Y. & Santa Fe, N.M.
1975 Smith College Invitational, Masters School, Dobbs Ferry, N.Y.
1973 Carroll-Condit Galleries, White Plains, N.Y.


TELEVISION APPEARANCES
2007 Featured on radio WVOX -- Paul Feiner's GREENBURG REPORT
1992 Featured on Westchester STATE OF THE ARTS


EDUCATION
M.F.A. Sarah Lawrence College