Four Panels, Mountain and Branches, 2021

These panels reflect my new environment. The mountain “lines” represent the Berkshires in MA. And the branches images come from a template I made of a drawing I did of a branch broken off a dead tree/bush once planted outside my door.

The incorporation of the drawings into the panel format demonstrates the influence of Japanese panel paintings from the turn of the 20th century.

Four Panels, Mountains and Branches 1-4, 2021, 60 inch high by total 91.75 inches width, colored pencil on black rag paper
Mountain and Branches 1, 2021
Mountain and Branches 2, 2021
Mountain and Branches 3, 2021
Mountain and Branches 4, 2021
Mountain and Branches, 2021, detail 2
Mountain and Branches, 2021, detail 1

Healing Quilt Series 1-9, 2006

This series of drawings is one of the best explanations of my process coming out of using arc templates to create shapes, characters, and language. I did these after I did the three large Healing Series paintings.

They are actually drawings for nine paintings. Each small square was intended to be 10 inches by 10 inches. The text on the left of the first one comes from The Communion of Spirts, a catalog on African-American quilters by Roland L. Freedman, 1996.

I love these drawings. They are a complete statement.

They are each 22 inches square, colored pencil, ink and acrylic on rag paper.

Untitled Drawings, 2012

These drawings have no meaning. They are mere vehicles to move the colored pencil around the paper in a fairly uniform way. They are all small, maybe 9 inches by 8 inches. A contrast to the large black and white drawings also executed in this year.

Transformation from the Root, #1-5, 2020

 

These pieces are all on canvas. They each measure sixty inches in height by twenty-two inches in width.

They are made with acrylic, colored pencil and marker. The first layer is acrylic and forms the background. The second layer traces the shapes left by the dripping paint with permanent silver marking pen. The last layer uses a stencil made from a drawing I made of a tree a long time ago. The shapes left by tracing the stencil are colored in with colored pencil.

The title of the series comes from a statement made by Gene Youngblood in a talk on the internet celebrating the 50th anniversary of the release of his landmark book, Expanded Cinema. In the talk, he and the moderator were in an exchange regarding how the global society can change using technology as one of its means.

My affection for trees stems from a lifelong interest in how they create intimate spaces in which to linger and how the shadows of the branches are embracing and graceful and evanescent.

Trees are integral to the earth’s environment. The more that trees are brought into human consciousness, the more concern we have for them. Trees have their own forms of growth and communication. They demonstrate when they are hurt and when they are thriving. We cannot take them for granted.

Tree Kimono, 2019

The Tree Kimono is made in several parts. The total dimensions are 70 inches in width by 90 inches in height. The media are colored pencil and ink.

Lyn Horton, Tree Kimono, 2019, 90 in x 70 in, ink and colored pencil on rag paper (several parts)

Lyn Horton, detail left Tree Kimono, 2019, 90 in x 70 in, ink and colored pencil on rag paper (several parts)
Detail, left

Lyn Horton, detail center Tree Kimono, 2019, 90 in x 70 in, ink and colored pencil on rag paper (several parts)
Detail, upper center

Shift Series, 2019 – 20

These drawings are all pairs, each part 22.5 square, colored pencil on black rag paper.

Lyn Horton Shift Series, 2019-20, periwinkle and sky blue light, sky blue light and perwinkle pair, 2020, 22.25 in h x 45 in w, colored pencil on black rag paper

Lyn Horton Shift Series, 2019-20, blue violet light and sky blue light and sky blue light and blue violet light pair, 2020, 22.25 in h x 45 in w, colored pencil on black rag paper

Lyn Horton Shift Series, 2019-20, celadon green and light green and light green and celadon green pair, 2020, 22.25 in h x 45 in w, colored pencil on black rag paper

Lyn Horton Shift Series, 2019-20, cerulean blue light and cerulean blue and cerulean blue and cerulean blue light pair, 2020, 22.25 in h x 45 in w, colored pencil on black rag paper

Lyn Horton Shift Series, 2019-20, lilac and imperial violet and imperial violet and lilac pair, 2020, 22.25 in h x 45 in w, colored pencil on black rag paper

Lyn Horton Shift Series, 2019-20, white on black, black on white pair, 2020, 22.25 in h x 45 in w, colored pencil on black rag paper

Untitled Series, 2006

These drawings are all 30 inches square.

30 x 30 ink, 06
Ink on rasg paper

30 x 30 ink, colored pencil, 06
Colored pencil on rag paper

30 x 30, pencil, 06
Hard pencil on rag paper

30 x 30, soft pencil, 06
Soft pencil on rag paper

Dividing The Gems, 2005-6

All of these drawings are 22.25 ” square, mixed media.

dividing the gems (blue) 05
Blue

dividing the gems (green) 06
Green

dividing the gems (orange) 06
Orange

dividing the gems (pen) 05
Pen 

dividing the gems (pencil) 05
Pencil

dividing the gems (purple) 06
Purple

dividing the gems (red) 05
Red

dividing the gems (yellow) 06
Yellow

Two Studies for Large Works, 2019

 Each colored pencil and ink on rag paper about 7.75 inches square

Lyn Horton, Study for Large Work 1, 2019, 9.25 inches square, colored pencil and ink on rag paper Lyn Horton, Study for Large Work 2, 2019, 9.25 inches square, colored pencil and ink on rag paper