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

Beginning Painting, 2007

There is never enough “beginning.” I was desperately seeking a means to dissolve the edges of the geometric templates at this time.

As with any language, the characters are difficult to re-work, re-make into new means of communicating.

Each part is sixteen inches square. The paintings are done with acrylic with some grease pencil enhancement.

Untitled, Long, 2006

I just discovered these drawings the other day when I was searching for something else. They are yet another statement rattling the template of the arc into grid formats.

They are each 50 inches high by 21 inches width. All mixed media.

#1
#2
#3
Black & White

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.

Twigs, 2020

These small drawings came out of seeing a tiny pile of twigs on my drawing table. The twigs had broken off apple tree branches with which I was making a large sculpture. I made the little pile because I knew that there was something interesting there.

In order to find the vision I imagined I would have, I photographed the pile. I enlarged the picture on the computer and made it black and white.

I traced individual black and white images on light blue paper and made each a different color, intending to span a legitimate “spectrum.”

I couldn’t have done this series without imaginary and sometimes actual conversations with Allan McCollum.

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

Flying Series #1-11, 2002

All these pieces are diptychs, measuring 22″ in height by 44.5″ wide. They are mixed media: charcoal and watercolor crayon. (The thumbtacks are collaterally visible because the photos were taken by me and I didn’t know enough to do something other than that.)

Img#13 Flying Series #1 - 2002

flying Series#4,2002

Img#17 Flying Series #5 - 2002

Img#14 Flying Series #2 - 2002

flyingseries#8,2002Img#18 Flying Series #6 - 2002

Img#15 Flying Series #3 - 2002

flyingseries#9,2002

Img#19 Flying Series #7 - 2002

flyingseries#10,2002

flyingseries#11,2002

Unknowing Innocence 1-7, 2004

These are all pairs of Paintings, watercolor pencil and acrylic on canvas, 60″ high x total 24 inches wide.

Unknowing Innocence #1, 2004
#1

Unknowing Innocence #2, 2004
#2

Unknowing Innocence #3, 2004
#3

Unknowing Innocence #4, 2004
#4

Unknowing Innocence #5, 2004
#5

Unknowing Innocence #6, 2004
#6

Unknowing Innocence #7, 2004
#7

Untitled Series, 2007

These drawings are mixed media, pencil, colored pencil and ink, each 11 inches square.

11 x 11 blue ink & white col pencil, 07   11 x 11 green ink, 07

        11 x 11 orange ink, 07   11 x 11 pencil 2, 07

11 x 11 purple ink & white col pencil #2, 07

11 x 11 red ink & white col pencil, 07 11 x 11 slate gray & pencil, 07

11 x 11 yellow ink & pencil, 07

11x 11 ink & white col pencil, 07