Linda Leslie Brown
Linda Leslie Brown's recent work incorporates a variety of media, including digital printmaking, drawing, sculpture, and multimedia installation. Recent exhibitions include Kingston GalleryBoston, Danforth Museum, Louise Foundation New York, Collaborative Concepts Gallery Beacon, NY, and many other galleries and museums in New England and New York City. She has been awarded grants from The Barnes Foundation, St. Botolph Club Foundation, The School of the Museum of Fine Arts Traveling Fellowship, ART Berkshire Taconic Foundation, and Suffolk University. Fellowship Residencies include Mass MoCA, Popop International Studio Residency, I-Park, FPAC Public Art Program, Hambidge Center for the srts, and Women’s Studio Workshop, among others.
Linda Leslie Brown is a graduate of the School of the Museum of Fine Arts Boston, and the Rhode Island School of Design. She is Director of the Foundation Studio Program at New England School of Art and Design, Suffolk University.
Linda is an amateur tree climber and a student/teacher of meditation in the Shambhala Buddhist tradition.
Linda Leslie Brown Artist’s Statement
“The present is conditioned by the accumulated traces of the past and the future of the earth will bear the mark of our present. While the manufacture of plastics destroys the archives of life on the earth its waste will constitute the archives of the twentieth century and beyond.”-Bernadette Bensuade Vincent
“The sensing, sensitive imprint of (Linda L. Brown’s) fingers is everywhere evident, and in this digital era the primal language of human touch-warmth and caring-invites the viewer into the dialogue while offering recalcitrant opposition to a clinically scientific approach to the issues she investigates.”
-Mary Bucci McCoy”
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.
I am interested in materiality, and in what makes objects carry meaning. Archaeologist Tim Ingold’s work has been influential where he examines the fluxing, transformational nature of forms within their surrounding environments. Ingold points out that things appear to have agency because of the way they are “caught up in the currents of the lifeworld.” This quality of being always in relationship to mind and culture, and in transition both physically and metaphorically, is an important property of all my work.
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, plastic, metal, paper clay, plaster, pigments, glass, concrete, rubber, shell and stone. 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 works 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. And because they are small, they invite viewers to an intimate examination that is both delightful and disturbing.
Revealing geologic strata, and appearing to have been retrieved after a long immersionin the earth or the ocean, my sculptures seem to be plastiglomerate relics of this damaged planet’s Anthropocene era. There is a concern for relationship: betweenthese discarded materials and their cultural or natural origins, between their literal andsymbolic meanings, and in the way they stand for human presence in the environment.The prefiguration of catastrophe, or what the writer Marianne Templetocalls “future ruin,” seems to live within their celebratory gestures and colors, while breaks, cracking and abrasion on their surfaces belie the works’ insouciant attitude.
Alternately funny, unsettling, obvious and obscure, my sculptures are made with force, joy and care.
Rhode Island School of Design, Providence Rhode Island
MA 1987 (Painting)
School of the Museum of Fine Arts, Boston, Massachusetts
Graduate Studio Certificate, 5th Year 1978
Studio Diploma (Painting, Drawing, Ceramics) 1977
More Holes (solo) Kingston Gallery, Boston, MA
I Know Just What You’re Saying (group) Kingston Gallery, Boston, MA
Linda Leslie Brown: New Holes in Progress (one person) Popop Studios Gallery Nassau, New Providence, Bahamas
The Dorchester Way (curated by Kathleen Bitetti) Medicine Wheel Gallery, Boston, MA
How to Feel Real (curated by Shana Dumont Garr) Kingston Gallery, Boston, MA
Indra’s Drala Net site specific environmental installation, Kingstown RI Land Trust Sculpture Trail
Ground Cover curated by William Kaizen) Kingston Gallery Boston MA
New Work with Holes (one person) Kingston Gallery Boston MA
Linda Leslie Brown: New Work with Holes AMP Gallery, Provincetown MA
Chimeric (one-person) essay by Mary Bucci McCoy Kingston Gallery Boston MA
Gifted (members’ group) Kingston Gallery Boston MA
NESAD Faculty Suffolk University Adams Gallery Boston MA
Vesicles Vessels Gallery Boston MA
Residents (3-person show) Bannister Gallery Rhode Island College Providence RI
BIG HUGE small works (members’ group) Kingston Gallery Boston MA
Drala Dancing Ground (site-specific environmental installation) I-Park Residency East Haddam CT
NETwork (invitational group) Kingston Gallery Boston MA
Climb (collaborative site-specific installation) AMP Gallery Provincetown MA
Nurse Log (solo) Kingston Gallery Boston MA
Raptpunzel (installation) Suffolk University Gallery Boston MA
of Technology Boston
Honors and Awards
Artist’s Resource Trust Grant, Berkshire Taconic Foundation
Fellowship Residency Massachusetts Museum of Contemporary Art
Fellowship Residency, Popop Studios International Residency Nassau, Bahamas
Traveling Fellowship Award School of the Museum of Fine Arts Boston MA
Davis Foundation Grant, Suffolk University FPLC Participant
Conference Participant ITI Think Tank International, Bozeman, MT
Featured Artist June 20 2014 http://365artists365days.com/2014/0...
Artist's Panel Presenter, Danforth Museum, Framingham MA
Visiting Artist, Final Painting critiques, Massachusetts College of Art
Fellowship Residency I-Park E. Haddam CT
Conference Participant, ITI Think Tank International Chicago IL
Reader/Reviewer, Thames and Hudson Publishers, London (new Art and Design text proposals)
Juror’s Award (juror, Susan Stoops, Worcester Art Museum) Danforth Museum Annual Competition Show
Faculty Research Grant, Suffolk University
Visiting Artist Rhode Island College Providence RI
ICE BOX: A Commissioned Temporary Public Artwork Fort Point Artists’ Community
Fellowship Residency Hambidge Center for the Arts Rabun Gap GA