• Equivalence 68

    acrylic and acrylic stain on cut stretched linen
    20" x 16"  |  2018

  • Equivalence 67

    acrylic and acrylic stain on cut stretched linen
    20" x 16"  |  2018

  • Equivalence 65

    acrylic and acrylic stain on cut stretched linen
    28" x 28"  |  2018

  • Equivalence 66

    acrylic and acrylic stain on cut stretched linen
    34" x 34"  |  2018

  • Equivalence 60

    acrylic and acrylic stain on cut stretched linen
    28" x 28"  |  2017

  • Equivalence 55

    acrylic and acrylic stained on cut stretched linen
    34" x 34"  |  2016

  • Equivalence 40

    acrylic and acrylic stain on cut stretched linen
    34" x 34"  |  2014

  • Equivalence 16

    acrylic and acrylic stain on cut stretched linen
    20" x 20"  |  2013

  • Equivalence 18

    acrylic stain on cut stretched linen
    30" x 24"  |  2013

LINDA KING FERGUSON Website CV

Nashville, TN | Painting
Bio:

Linda King Ferguson lives and works in Munising, MI and Nashville, TN. She is in residence semi-annually in Brooklyn, NY. She has a MA from Rhode Island School of Design, and received an MFA from Vermont College of Fine Arts. She also has studied at Academia Di Belle Arti in Perugia, Italy, and Penland School of Crafts. Ferguson has been awarded several art residencies including Ragdale and The Morris Graves Foundation and exhibited widely, including the exhibitions, Fiber Optics, Minus Space, Brooklyn, NY and Stomach Acid Reflux, the fourth online White Columns exhibit curated by Ellie Rines. She recently had solo exhibitions at Bay College and Michigan Technological University and was awarded a Personal Development Grant from the State of Michigan. Ferguson’s work has been included in many private and public collections and reviewed in several publications including New American Paintings, Vol. 113, curated by Stacie Boris. She has an affiliation with Minus Space, Brooklyn, NY and her work can be found on the White Columns Artist Registry. Ferguson is Founder and Director of The Bakery, a non-profit, artist run project space in Munising, MI, and as contingent faculty she taught at Northern Michigan University.

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Statement:

I think of the Equivalence Series as social bodies; a re-thinking of Modernist abstraction conjoined with an interpretative representation of the cancer and disease experience in all its permutations. Through acknowledgement and distance the Equivalence works are a reductive and abstract formal language, investigating feminist subjectivity while establishing a new normal through what is and what is not.

These works are determined by an anxiety necessitating excision, treatment, implant, and survival. Color is saturated and communal; surfaces are thin, stained, and raw; forms are structured, incised, and permeated; space is autonomous, dependent, and open. Yet, these works are a re-determined whole cloth made whole again by the generosity of social context and structures with and through the viewer’s perception. It’s my intention that they operate as reveals of humor and hope. With a vocabulary of forms and gestures, logic and feelings, my work investigates the effectual and contingent spaces in relationship, portending places where assurances can be found.

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