Lindsey Brown

LINDSEY BROWN


EDUCATION
Queens College, Flushing, NY, Master of Fine Arts, 2000
Bennington College, Bennington,VT, Bachelor of Fine Arts in Painting/ Printmaking, 1985
ARTIST FELLOWSHIPS
Yaddo, Saratoga Springs, NY, Artist Fellowships, 2000, 2004
Virginia Center for Creative Arts, Sweet Briar,VA, Artist Fellowships
94’,95’,96’,97’,98’,00’,03,10’
Atlantic Center for the Arts, New Smyrna Beach, FL, Artist Fellowship, associate to Alex Katz, 94
Vermont Studio Program, Johnston, VT, associate to Yvonne Jacquette, 93’
MUSEUM COLLECTIONS
Portland Art Museum, Portland, OR, Gilke Print Collection
MUSEUM EXHIBITS
Danforth Art Museum, Framingham, MA, “A Community of Artists”, 5/08-8/08
Parish Art Museum, South Hampton, NY, “Summer Show” jurors Ariella Budick, Jaqueline Brody,
Sara Nightengale, 9/05
Provincetown Art Assoc.& Museum, Provincetown, MA, juried summer show 97’
AWARDS AND GRANTS
Jane Geuting Camp Award, Virginia Center For Creative Arts, 97’
Grant Recipient, Nantucket Island School of Design & Arts, 88’
EXHIBITIONS
Atwater Art Gallery, Rhinebeck, NY, Lindsey Brown and Sara Draney- Painting and Sculpture, 6/14
Atwater Art Gallery, Rhinebeck, NY, Group Show , 1/14
Rose Burlingham Living Room Gallery and Turtle Point Press, NYC, NY, “A Two Gallery Teacup
Show, group show, 12/10
571 Projects, NYC,NY, “Small Things Considered”, group show,12/10
571 Projects, NYC, NYC, ”The Trees Are My Elephants”, one person show, 6/10
Worksound Gallery, Portland,OR, “Approx L”, 3 person show curator- Bethany Ides,5/09
Rose Burlingham Gallery, NYC, NY, “Lindsey Brown-New Work”, one person show,4/09
Fall Dutch Barn Show, Clinton Corners, NY, 6 person show curated by Rose Burlingham including
Stephen Westfall, Mary Jones and Cora Cohen, 9/07’
Dutch Barn Show, Clinton Corners, NY, group show curated by Rose Burlingham including Stephen
Mueller, Joe Fyfe and Billy Copley, 6/07’
Rose Burlingham Watercolor Gallery, NYC, NY, “Works on Paper”, 4 person show including Judy
Hudson, Beau Joseph and Billy Copley, 1/07
Ruth Bachofner, Santa Monica, CA,“Pillow Talk”, group show, curator Mery Lynn McCorkle, 2/07
Susan Schomberg, Santa Monica, CA,“Planted Evidence”, group show, curator McCorkle, 9/04
Van Brunt Gallery, NYC,NY, “Trouble in Paradise”, group show, curator Amy Lipton, 6/04
Main Street Gallery, Nantucket, MA, one person show, 97’- 98’

Lindsey Brown
Artist Statement:


In a convergence between the documentation of my nightly dreams and day
to day inspiration from nature, my mixed media paintings, prints and
drawings layer imagery with text, poured paint, drawing, sewing and
collaged elements to create map-like dreamscapes.
I work on the large paintings over a long period of time, often several years.
I will begin a group of large paintings all at the same time, creating smaller
groups of drawings and paintings that support the vocabulary of the
paintings. The sewing in the work, often painstaking and obsessive has a
quality of drawing and at the same time, captures a sense of time passing. I
sew drawings onto canvas or drawings onto drawings, attaching images of
different views in the non-linear way a dream is remembered. These serve
as windows into levels of memory.
I frequently use a map format in the larger works to capture a sense of
being above the clouds for a bird’s eye view. Birds are often featured in the
work. The figure of the bird developed at the same time I started
documenting my dreams. An all-seeing narrator in the work, the bird has a
spiritual overview. As in early Renaissance paintings the bird is an
interlocutor, a guide figure who points the direction that the viewer should be
looking, the way to an inner life. I am attempting to describe the liminal
space between the waking world and sleeping world, between what is real
and what is not real. Symbols function as things that are really other things,
animals that are other animals. Throughout the work I look to symbols and
images to compensate for the insufficiency of common language,
underscoring the endless connections inherent in all that makes up the
universe.
I work with everything from dried berries to butterfly wings, shells, pressed
flower petals, gold leaf, tree pods, spider webs (painted and placed on
paper) and other artifacts from my life that hold metaphor for me. My lexion
appropriates these materials and alchemically transforms them into paintlike
color and texture in my artwork. Large canvases with paint poured onto
them often sit deliberately outside the studio door in the rain allowing a
spontaneous intervention of nature.
I work on the floor looking down onto the larger paintings, adding bits of
text on small pieces of paper, things overheard during the day or
remembered from a dream. I make marks directly, applying materials as
well as text to the canvas in the same way I would make a brush stroke. I
see the gluing of tiny seeds into patterns, stitching of intersecting lines,
cutting of holes in paper, pouring layers of paint and charcoal drawing all to
originate from the same language of mark making. I see them held together
by the same energies under- pinning the universe, some chaotic some
patterned in nature. An example of this can be seen in the galactic blue form
in the painting Necklace in the Sea, a work based on a specific moment of
realization, contains four elements, one in each corner, a fragment of ocean
worn clothing, a geode of molecular structure, a pressed rose and silver
bands. The central image on the almost square canvas appears to spiral
forward toward the picture plane with keys in each corner as clues to its
origins.

To Contact Lindsey

Lindsey Brown 347-768-3954 or lindseywork50@gmail.com