• Equivalence 81

    oil, acrylic spray, and acrylic stain on cut stretched linen
    20” x 16”  |  2020

  • Dyad 9

    Prismacolor pencil on stained linen
    20” x 16”  |  2020

  • Equivalence 82

    acrylic and acrylic stain on stretched linen
    16” x 12”  |  2020

  • Equivalence 76

    acrylic and acrylic stain on cut stretched linen
    20” x 16”  |  2020

  • Equivalence 78

    stain and acrylic on cut stretched linen
    20” x 16”  |  2020

  • Equivalence 79

    oil, acrylic spray, and acrylic stain on stretched linen
    20” x 16”  |  2020

  • Equivalence 72

    acrylic and acrylic stain on cut stretched linen
    20” x 16”  |  2019

  • Equivalence 75

    acrylic and acrylic stain on cut stretched linen
    20” x 16”  |  2019

  • Studio Group: Dyad 9

    feat. Equivalence 83, Equivalence 75, Equivalence 84

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 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.

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