Artist's Statement ::
When I paint I am standing in the desert alone, facing the vast horizon, the pale gradations of sand--sand-colored rock, sand-colored plants, sand-colored sky. There is nowhere to look for relief.
I work on a canvas in layers over days or weeks. Acrylic is the perfect medium for me because it dries fast. I work quickly while the paint is wet, covering the whole canvas. The next day I rework it. The painting’s past affects its present, leaving traces and influences that subtly or dramatically guide what happens next.
When I go to the blank canvas it is upright on an easel. I paint standing up, with my stereo blasting anything from Dave Brubeck’s “Take Five,” Laurie Anderson’s “Strange Angels,” Leonard Cohen’s “I’m Your Man,” to “El Condor Pasa,” flute music from the Andes. The rhythms, beats and patterns I hear create a mood that is reflected in the lines, shapes and colors on my canvas. It is an active process that demands a looseness and openness to whatever might happen.
I dig deep for the pains and passions--the inexplicable energy and exhaustion of daily life--to express them in a large gesture. I struggle with the canvas, building it up and breaking it down. Very often a hideous accident occurs: the paint does not flow evenly from the tube; colors clash in vibrant abandon; irregular drips and splotches dot the surface. My eye is offended by what it sees.
My desire is to tease this ugliness, this unlikely blend of colors and shapes, this painting’s lurid history, into a visual symphony. I foreground the ghosts of a painting’s past, highlight the error of its ways, coax its indeterminism into strength of purpose. Look closely and you will see a mess. Stand back and the painting’s organic life plays out in front of you.
There is always a tension between abandon and control. It is a risk to let the brush or palette knife sweep across the canvas without knowing what will happen. Sometimes the result is an amazing gift, but more often it is a challenge that requires much patient looking to see what the painting requires in order to complete itself.
Space is there to be enclosed and disclosed—defined or defiled by line, shaped and misshaped by form, and teased into revelation through color. Form. Line. Color. Some days we dance together, some days we engage in a bloody fistfight.
The painting session is over. The paint dries. The next day I start again.
Selected Exhibitions: ::
2001: “New Work by Lynne Taetzsch”, Clinton House ArtSpace; Ithaca, NY
2000: “Improvisation in Color”, Community School of Music & Art, Ithaca, NY
2000: “Recent Paintings”, Tompkins Cortland Community College; Dryden, NY
1998: “New Acrylic Paintings”, Gallery for the Arts; Mt. Sterling, KY
1991: “Recent Works”, Astrea Gallery; Washington, DC
1990: “Acrylic Paintings”, Division of Cultural Affairs Gallery; Tallahassee, FL
1990: “Selected Paintings” President's Gallery, Florida State University; Tallahassee, FL
1990: “Recent Acrylic Paintings”, Hartley Gallery; Winter Park, FL
1988: “Paintings by Lynne Taetzsch”, Friends of Jung; San Diego, CA
1971: “Oil Paintings”, The Revelation; New York, NY
1964: “Recent Oil Paintings”, Paula Insel Gallery; New York, NY
2002: “Redefining Art”, Avenue Art Gallery; Endicott, NY
2002: “Summer Invitational”, Period Gallery; Omaha, NE
2002: “2002 Invitational”, State of the Art Gallery; Ithaca, NY
2001: “Greater Ithaca Art Trail at Red Newt Cellars”; Hector, NY
2001: “A Woman's Work Is Never Finished”, International Museum Gallery; Baltimore, MD
2000: “Greater Ithaca Art Trail at Red Newt Cellars”; Hector, NY,
1999: “Recent Works by Lynne Taetzsch & Wyman Rice”, The Kentucky Gallery; Lexington, KY
1999: “Six-person Show”, Soho South; West Palm Beach, FL
1998; “Juried Show”, 33rd Annual Central South Art Exhibition; Nashville, TN
1998: “Juried Show”, Masterpieces of Maturity, Loudon House; Lexington, KY
1992: “Juried Show, Art on the Lake”, Reston Art Gallery; Reston, VA
1992: “2nd Ann. Cultural Resources Juried Exhibition”, LeMoyne Art Foundation; Tallahassee, FL
1991: “Three-person Show”, Artforms Gallery; Sarasota, FL
1991: “Tenth Annual September Competition”, Alexandria Museum of Art; Alexandria, LA
1991: “Juried Show”, Hoyt National Art Show; New Castle, PA
1991: “Juried Show”, Aesthetics 91 Exhibition; McPherson, KS
1990: “Juried Show”, Westmoreland Arts National; Greensburg, PA
1990: “Juried Show”, Thirteenth National Art Exhibition; World Trade Center, New Orleans, LA
1989: “First Place Prize, Juried Show”, Foothills Festival of the Arts; La Mesa, CA
1989: “Exhib.of Korean and American Women Artists”, Modern Art Gallery; Los Angeles, CA
1988: “Group Show”, Cosmopolitan Art Association; Seoul, So. Korea
1987: “Three-person Show”, Robin Hutchinson Gallery; Maplewood, NJ
1985: “National Juried Color Show”, Castle Gallery; Billings, MT
1985: “Group Show”, Art in Architecture; Windermere, FL
1985: “Group Show”, Goff Galleries; Winter Park, FL
1972: “Group Show”, Ithaca House Gallery; Ithaca, NY
1964: “Juried Show”, Donnell Library; New York, NY
1964: “Juried Showzz”, Dollar Savings Bank; New York, NY
1964: “Group Show”, Design Center-Mason Art; New York, NY
1964: “Emily Lowe Competition”; New York, NY