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art scENE


A) Going out after work to paint the fading light of shorter fall days means “you have to get it done.” Painting gear is stowed in the car for rapid set up and, to accommodate her to-the-edges compositions, the panels are embedded in gator board “frames” that can easily be held by the easel. This fall’s “Sunset Series” captures the fast-changing light and dramatic shadows that provide opportuni- ties to explore a more limited palette and extreme contrasts. Friends have called to say, “Oh, I saw a Lynn sunset today!” These eight-inch by ten-inch pieces have the immediacy of snapshots but also illustrate her facility with aspects of color theory. Cad red? Cad yellow? Quinacridone? She makes decisions quickly and, as a result, the pieces “sing.” Photo by Matt Norman.


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B) Her fi gurative work includes drawing portraits of her daughter and grand- children and self-portraits, this one titled “Lynn on the Half Shell.” Evident here are the Botticelli basics coupled with whimsy and personal symbolism. The pose is from the 1488 original “Birth of Venus” (often called “Venus on the Half Shell”), but the details are all Gilchrist. The winds of Zephyr have been replaced by a standing fan, she is pictured in running gear holding a bird and a stick-legged sheep. In the shell are creatures from the natural world, including a tropical-colored leering fi sh. Because Lynn is fully clothed in this personal version, she has cropped out the Goddess of the Seasons holding the robe that would restore Venus’ modesty, leaving only a hand holding a mysterious sail. Photo by Sarah Doneff .


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C) When you have a need to paint, subjects present themselves. In this “interior landscape,” the eggplant adds a touch of whimsy as well as balance to the composition achieved through its color and form. Strong shapes may suggest Matisse, but the piece recalls Bonnard’s ability to inject depth and perspective into a seemingly simple composition. The objects are recognizable but the setting is ambiguous. Shadows fall to create depth but what do the objects represent? What is the surface over which the fabric is draped? These straightforward elements combine to create a tension similar to those experienced by the artist herself. Photo by Maggie Banks.


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D) Gilchrist says, “It’s been a struggle working in plein air. Sometimes there’s great accidental stuff and sometimes I get so off . I don’t always have confi dence [in the work]; then I get all picky, the art gets bad and I overwork the piece.” This is a two-hour quick paint done in July 2011 near the Fish Creek town dock. (Quick paints are monitored so the artists work under pressure to fi nish a piece in a specifi ed amount of time.) The playfulness of the color and brush work, the incredible depth achieved, and changes in scale of design elements are hallmarks of her current work. These are opportunities for color and composition; for example, the table may be proportionally small in realistic terms but echoes the color of the building and roof in the background. Another balancing act well done. Photo by Matt Norman.


Winter 2011/2012 Door County Living 15


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