Installation, 1981

This installation image showing velvet going horizontally and lanyard vertically occurred at Berkshire Community College in Pittsfield, MA, in a Faculty Show.

This is also the only time it has been created and was a combination of the materials I had been working with since I went to CalArts and later used in my exhibits at Claire S. Copley Gallery and San Jose State University in the mid-seventies.

The velvet is far more expressively handled because it is soft and pliable and represents, in essence, my femininity.

The dimensions of the BCC installation are seventy inches high by sixty-six inches width and probably six inches at its deepest point, where the velvet was bent out into space in a curve shape.

Pushpins hold the elements to the wall.

And it is based on the principles of the lanyard piece originally created in the corner of Gallery A-102 at CalArts, whereby the vertical length plus the molding equals my height in inches and the horizontal length is equals sixty-six inches, the width of my arm span.

Installation, lanyard and pushpins, each side 70″ h by 66″ w, 1970

2021 Commission Installation, Washington, D.C.

This drawing is 67 inches in height and 57 inches wide. The media used are colored pencil and permanent marker on heavy rag paper.

All Tied Up Series, 2019-20

This series was started in the Fall of 2019. The branches are trimmings from a winter-killed holly bush and cuttings from two apple trees by my terrace. The series will continue slowly as I collect new branches.

They carry on from earlier installation pieces done in my studio in 2018.

My intention is to highlight the arresting beauty of the natural forms in a new context. Wrapping the branches with faux leather cord is a means to relate the branches explicitly with my drawn lines.

Lyn Horton, All Tied Up #1, 2020, branches wrapped in faux leather and velvet tubing, 17.75 in h x 9.25 in w x 6.25 in d
All Tied Up #1, 2020, branches wrapped in faux leather and velvet tubing, 17.75 in h x 9.25 in w x 6.25 in d

Lyn Horton, All Tied Up #2, 2020, branches wrapped in faux leather and velvet tubing, 17.5 in h x 11 in w x 5.75 in d
 All Tied Up #2, 2020, branches wrapped in faux leather and velvet tubing, 17.5 in h x 11 in w x 5.75 in d

Lyn Horton, All Tied Up #3, 2020, branches wrapped in faux leather and velvet tubing, 24.2 in h x 20 in w x 13.5 in d
All Tied Up #3, 2020, branches wrapped in faux leather and velvet tubing, 24.2 in h x 20 in w x 13.5 in d

Lyn Horton, All Tied Up #4, 2020, branches wrapped in faux leather and velvet tubing, 24.25 in h x 46.5 in w x 21 3.8 in d
 All Tied Up #4, 2020, branches wrapped in faux leather and velvet tubing, 24.25 in h x 46.5 in w x 21 3.8 in d

Lyn Horton, All Tied Up #5, 2020, branches wrapped in faux leather and velvet tubing, 26.25 in h x 45.75 in w x 7 1.8 in d
All Tied Up #5, 2020, branches wrapped in faux leather and velvet tubing, 26.25 in h x 45.75 in w x 7 1.8 in d

Lyn Horton, All Tied Up #6, 2020, branches wrapped in faux leather and velvet tubing, 43 in h x 27.5 in w x 11 3.8 in d
All Tied Up #6, 2020, branches wrapped in faux leather and velvet tubing, 43 in h x 27.5 in w x 11 3.8 in d

Lyn Horton, All Tied Up #7, 2020, branches wrapped in faux leather and velvet tubing, 48.25 in h x 18 in w x 14.75 in d
All Tied Up #7, 2020, branches wrapped in faux leather and velvet tubing, 48.25 in h x 18 in w x 14.75 in d

Lyn Horton, All Tied Up #8, 2020, branches wrapped in faux leather and velvet tubing, 20.5 in h x 57 3.8 in w x 10.25 in d
All Tied Up #8, 2020, branches wrapped in faux leather and velvet tubing, 20.5 in h x 57 3.8 in w x 10.25 in d

 

Laos Installation, Details, 2014

These images show the installation of the piece, Naga #2, at the Embassy of Laos in Vientiane, going down the wall from left to right. The textiles are all Lao from different regions of the country. They were gathered at markets and from mills on my visits there.

Many of the small pieces of woven cloth are often incorporated into clothing as borders on skirts or jackets. Some of the large tapestries are used as hangings.  The horizontal center blue & Tai Daeng weave tapestry is an antique.

The black “line” is velvet cording, weaving in and out of the spaces between the tapestries. In some places, examples of the silk thread used in weaving the tapestries were stretched out to intertwine with the materials laid out on the wall. I used two thousand brass nails to mount the cording as well as the tapestries. At one point in the middle of the installation, I believed that I was going to run out of nails. So I decided to use the velvet in broad strokes taking it straight across the materials on the wall instead of curving it over or around the tapestries. To some, this falsely appeared as though I was holding up the tapestries when, in fact, it was a pragmatic decision to save the number of nails that I had left. The straight “lines” complement the angularity of the Lao designs; the textile version of the Naga is an example.  

The title, Naga, is the name of the mythical dragon-like creature that protects the country. It lives in the Mekong River. Laos is not the only country which reveres the Naga.

These pictures are the only ones that were taken of the piece. I took them when I finished installing it. I take great risk in publishing them here.

 

Naga detail 1

Naga detail 2

Naga detail 3

Naga detail 4

Naga detail 5

Naga detail 6

Naga detail 7

Naga detail 8

 

Naga detail 9
This shows a wedding collar posed in a V-shape. For me, this positioning signified the marriage of the two cultures, that of Laos and the United States, with me as the filter for the latter.

 

Naga detail 10

Naga detail 11

Video of Wall Drawing Installation, Oresman Gallery, Smith College, 2008

Staying Connected: A Drawing Improvisation from Lyn Horton on Vimeo.

Wall Installation, Oresman Gallery, Smith College, 2008

The title of this show was “Staying Connected.” It was dedicated to Sol LeWitt, who passed away on April 8, 2007.

 

Wall Drawing- Smith, view from entrance to gallery) 08-9
View from Gallery entrance

Wall Drawing -Smith (left wall) 08-9
View of left-hand wall

Wall Drawing- Smith (end wall) 08-9
View of end wall

Wall Drawing-Smith (right wall) 08-9
View of right-hand wall

Wall Drawing- Smith ( detail mid left corner) 08-9
Detail where left-hand wall meets the end wall

Traveling With Angels Series, 2003

This series is concerned with the death of my mother, my divorce with my husband and the prospect of being alone. Each drawing is 50 inches in height by approximately 72 inches wide. They are mixed media: watercolor crayon and charcoal.

 

Traveling with Angels #1

Traveling with Angels #2

Traveling with Angels #3

Traveling with Angels #4

Traveling with Angels #5

 

Traveling with Angels #6

Traveling with Angels #7

 

Traveling with Angels #8

Traveling with Angels #9

70 ” Square Black & White Drawing, 2014

70 inch Square drawing Black on White, 2014

 

Maxwell MacKenzie Photo of Lyn Horton, 70 in Square Black and White drawing, Lobby of Cafritz Building, Connecticut Avenue, Washington, DC, Architect Eric Colbert
Architectural photographer Maxwell MacKenzie’s photograph of drawing installed in the lobby of the Cafritz building at 5333 Connecticut Avenue, Washington, DC; Eric Colbert, architect.

Maine Residence Installation, 2019

Mary Douglas Drysdale also revisited a collector’s new home in Maine to reinstall my work.

MDD, Maine Residence, 2019