Lynne Taetzsch
3 Snyder Heights
14850 Ithaca
USA (United States)
607-273-1364
http://www.ARTBYLT.com
Kunstart: Malerei
Technik: Acryl
Stil: Abstrakt
Statement:
My work was influenced in the early 1960s by the New York school of abstract expressionists, including Jackson Pollock, Willem deKooning, Hans Hoffman, and Robert Motherwell. What drew me to this work was its sense of improvisation, high energy, and an emphasis on the painting process. Instead of using paint to carry out a visual idea, I was thrilled to discover the visual idea through the process of creating it.
The iconography in my work comes from a lifetime of personal and cultural experience. As a young girl in the 1950s, I resented the limited role assigned to women, and sought to break away from it. I emulated my three older brothers, and wanted to act in this world of men by accomplishing significant things. I eschewed “women’s work,” and therefore didn’t learn the joy of cooking until I had left home and was forced to cook for myself.
Thus, I used strong colors and forceful gestures in my painting, avoiding any effect that might be deemed “feminine.” I took it as a compliment when someone said to me once, “You paint like a man.” It was only years later, as I matured, that I could embrace the delicate, the patterned, and even pastel colors in my art.
Two signs that are integral to my work are the circle and the X. Through the circular shapes and lines on my canvases, I embrace the feminine. While I still prefer to wear loose clothing that does not reveal my own body’s curves, I do enjoy filling my art with circles and eggs in abundance.
As for the Xs in my paintings, sometimes making one is an act of "crossing-out" what has come before. Making an X is a way of saying "no" to the world. In a way, X's are the opposite of O's, and mixing them expresses my ambivalence. X is a primitive kind of mark that may come from the unconscious, a kind of making your mark or staking out your territory. X accumulates meanings.
There is also a physical satisfaction in making an X, especially a large one that fills up a canvas. It feels decisive to make this strong mark. At other times, the X is simply playful.
When I was a young girl, my grandmother spent hours trying to teach me how to make paper flowers. She was a true artist, but I resisted this “women’s craft,” and grew bored. My mother loved flowers, and always planted a garden of them, but I, again, resisted this path. It was only later in life that floral and leaf designs showed up in my art.
As my personal history and culture are my life’s foundation, each layer I paint on a canvas becomes the history of its surface. These layers accumulate and influence, yet not always overtly. Like sediment, they build. By mixing the acrylic paint with water and gloss medium to make a thin wash, the translucent quality of top layers reveal aspects of the painting’s history. At other times, a thick impasto hides the past. Yet it is there beneath the surface and has had its influence nonetheless.
Vita / Lebenslauf:
Lynne Taetzsch was born in East Orange, New Jersey and grew up in Irvington and Newark, New Jersey. She was interested in art from the time she was a child, spending her allowance on arts and crafts supplies, painting the school windows for the holidays, and winning a class drawing contest in eighth grade. As a young teenager she took oil-painting lessons from a local artist and later she was president of her high-school art club.
At Rutgers University, the University of Southern California, and the University of California, Lynne took art classes in painting, print-making, drawing and pottery. But the biggest influence on her art was the two years she spent at Cooper Union for the Advancement of Science and Art in New York City, where she had classes in calligraphy, architectonics, one and two dimensional design, life drawing, and painting. This is when her work gradually became more abstract as she experimented with collage materials in an intense focus on composition.
Lynne has lived in Florida, California, New Jersey, Virginia, Kentucky, and now in the beautiful Finger Lakes region of New York State. She's worked as a secretary, a writer, an editor, a publisher, a junior-high English and Math teacher (six months), a business trainer and manager, a Kirby vacuum cleaner salesperson (one week), a leather crafter, and a college professor. Through most of it, she kept painting, and since the spring of 2000 she has been painting full time in her studio in Ithaca, New York.
In the early eighties Lynne switched from oil paint to acrylics. She found that acrylics fit her style better because they dry quickly. She works on a painting over many days, adding layers that accumulate without totally eradicating the previous images. She paints standing up, listening to jazz, classical, or rock and roll. The process of painting in broad gestures with a brush or palette knife gives her work its sense of intense energy. Like jazz, the heart of her art is improvisation.
Lynne’s work has been shown in solo and group exhibitions in galleries and museums throughout the United States and abroad. Stan Bowman, professor emeritus of the Cornell University Art Department, said in a review of Lynne’s exhibit at the Clinton House ArtSpace in Ithaca: “Taetzsch is a painter very much in the tradition of the best of 20th century abstraction.”
Describing her painting process, Lynne says: I am of course indebted to all the artists who came before me, for the wonderful ways they have transmuted color, line and shape. Some of my very special art connections are Miro, Kandinsky, Matisse, DeKooning, Hans Hoffman, Helen Frankenthaler, and Joan Mitchell.
In the early stages of a painting, I work very fast. This helps give my art its sense of energy and spontaneity. I like to trick my conscious mind by not letting it have too much control over what happens. In some ways I’m creating a mess or a problem that I then have to solve in order to make the painting work.
It’s the painting surface that I love - the lusciousness of color in its thick and thin varieties, flat and opaque to keep the eye on the surface, or transparent and airy to suggest deep space. My goal is to stay as close to the edge as possible, to keep that sense of organic happening, as if the painting had grown itself rather than having been crafted by me. Yet it is the artist's eye that seeks to prevail, telling the hand to add that last brush stroke which brings it all together.
Aktivitäten / Ausstellungen:
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Splash Two
Malerei
Acryl
100 x 100 x 4 cm
2008
Preis: 1.450 Euro
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Origami Two
Druckgrafik
Fine-Art-Print
110 x 110 x 4 cm
2008
Preis: 600 Euro
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Culmination
Druckgrafik
Fine-Art-Print
100 x 100 x 5 cm
2008
Preis: 500 Euro
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Modern Art Three
Malerei
Acryl
120 x 120 x 4 cm
2009
Preis: 1.800 Euro
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