L I N D A V R E D E V E L D

Linda Vredeveld – Statement – 2018
 
My work visualizes the female experience, measuring the mythic and heroic against the idiosyncratic.
 
As a two dimensional artist, my practice in painting has developed in contrast to my drawing/collage discipline. 
 
The paintings encapsulate broader experiences or emotions.  Through their materiality and construction, they articulate states of being, or ways of moving through the world, combining the spiritual and physical. They seek to connect with larger truths and celebrate life force.
 
These paintings are made over several months, in sessions where strokes of matte, ink-like lines and opaque shapes are laid into semi-transparent, glossier grounds or paint “skins” of subtly varied tones and textures that press the surfaces into vibrating, living pieces. The history of each piece, apparent in the remnants of compositional changes, gives weight to the struggle to voice this experience.  This work is figurative:  breasts, arms, torsos, - bulges, folds, and spots. Line and shape trace the contours of the body, seeking out the symbol in the mundane rendering.
 
Influences span eastern calligraphic mark making to abstract expressionist action painting, to automatic spiritual writing.   An admirer of weaving and textiles, this type of structure also informs the construction of my work.
 
 
The drawings and collages are specific and playful, reactive and situational.  They are grounded in time and place and record a more autobiographical content.
 
Because I used found material  (old paper dolls and clothes; childhood ephemera from classroom and books; wallpaper samples, photocopies of my family’s clothing) in combination with my own imagery, media, and marks, this practice adds meaning to the making of my paintings.
 
In the works on paper, I am re-experiencing the atmosphere of the era into which I was born, and, as a middle-aged woman, going back into the fantasy and trying to connect with what it was to me. Looking for my preadolescent self inside the (for example) paper doll folios, like entering a time machine and travelling back to a time that explains the twists and turns of a path taken.  I am attempting to understand the structures that have given me identity.
 
Looking at the whole of my work is like listening to a conversation between different aspects of myself. The two practices complete each other.