Trained as a Textile Designer yet thinking and practicing as a painter, Linda King Ferguson maintains studios in Marquette, MI and Nashville, TN. She has a MA from Rhode Island School of Design, MFA from Vermont College of Fine Arts, and she studied at Penland School of Crafts and Academia Di Belle Arti, Perugia, Italy.

Ferguson’s work is represented by Graci Gallery, Marquette, MI and she has an affiliation with Minus Space, Brooklyn, NY and Channel To Channel, Chattanooga, TN. She recently had solo exhibitions at DeVos Art Museum, Channel to Channel, Lipscomb University, and Susan Hensel Online Gallery. Upcoming in 2024 she has two solo exhibits in NY Artists Equity Gallery and Graci Gallery. She has also exhibited in numerous group exhibitions including, Graci Gallery; Minus Space; New York Artists Equity Gallery; White Columns Online; dodomu Digital Gallery; and Odetta Digital Gallery.

Ferguson was awarded residences at Press Here Projects, Ragdale Foundation, and Morris Graves Foundation. She also was a resident artist semi-annually from 2013-2017 at Cathouse FUNeral, Brooklyn, NY. She was awarded a Personal Development Grant from the State of Michigan in 2015, and a Northern Michigan University Educational Research Grant in 2013. Her work is published in Hyperallergic, New American Paintings, Vol. 113, Presence, Artdose Magazine, and Boulevard Nos. 68-69.

Ferguson was Founder and Director of The Bakery from 2017-2020, a non-profit, artist run project space, Munising, MI. As contingent faculty she taught from 2008-2013 at Northern Michigan University, Marquette, MI. From 1992-2008 Ferguson was a Curatorial Board Member for a non-profit, artist run space, Oasis Gallery, Marquette, MI. She has had representation by OK Harris (David Klein Gallery,) Birmingham, MI, the former Owings-Dewey, Santa Fe, NM, and the former River Gallery, Chelsea, MI.

I think of the Equivalence Series as social bodies; a re-thinking of Modernist figurative abstraction. They are a discursive formal and reductive language. As figures, they responsively acknowledge their material presence by establishing listening liminal spaces. These works investigate feminist subjectivity by propositioning the viewer’s perception. Through what is and what is not they give space and voice to an in-between of possibility.

The Equivalence Series when exhibited together create a breathing space I like to think of as a living room. Each work is individual yet conversantly in relationship to others. Color is saturated, communal, and contrasting: 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. As we face the anxiety of many social, political, and climate crises, it’s my intention that the works operate as reveals of humor and hope. With a vocabulary of forms and gestures, logic and feelings, they investigate the effectual and contingent spaces in relationship, portending places where assurances can be found.