Art Critic Sue Taylor writes about Vredeveld's work in 1988:
"...Linda Vredeveld’s nudes, for example, depart from a long tradition in which the female body has been treated as an erotic object displayed to appeal to the sexuality of the male viewer. In Vredeveld’s drawings of girls dreaming or disrobing, there is an astonishing sense of the female in possession of her own body. Self absorbed, solid and strong rather than voluptuous, these figures hardly conform to standard expectations of the nude. When they cast off their garments, it is not to tantalize the spectator but to free themselves from constraints. Their braided hair becomes symbolic of phallic power; the mirrors in which several figures behold themselves refer not only to vanity and narcissism - - as a male artist might have it - - but to introspection self knowledge, and the complexities of self portraiture. In Girl Looking in Hand Mirror (1987) , for instance Vredeveld literally places the figure in control of her representation, and the woman becomes both subject and object of the scrutinizing gaze."
excerpt from essay for Only a Woman Could
Contemporary Art Workshop