About The Work
Linda King Ferguson describes her "Equivalence Series" as social bodies; a re-thinking of Modernist figurative abstraction. They are a discursive formal and reductive language. As figures, they responsively acknowledge their material presence by establishing listening liminal spaces. These works investigate feminist subjectivity by propositioning the viewer's perception. Through what is and what is not they give space and voice to an in-between of possibility.
The "Equivalence Series" when exhibited together create a breathing space I like to think of quite literally as a living room. Each work is individual yet conversationally in a relationship to the others. Color is saturated and communal and contrasting; surfaces are thin, stained, and raw; forms are structured, incised, and permeated; space is autonomous, dependent, and open. Yet, these works are a re-determined whole cloth made whole again by the generosity of social context and structures with and through the viewer's perception. As we face the anxiety of many social, political, and climate crises, it is my intention that the works operate as reveals of humor and hope. With a vocabulary of forms and gestures, logic and feelings, they investigate the effectual and contingent spaces in relationship, portending places where assurances can be found.
Courtesy of Channel to Channel
Painting
Acrylic on Cut, Stained Linen
20.00 x 16.00 in
50.8 x 40.6 cm
This work is signed by the artist on the back.
About The Work
Linda King Ferguson describes her "Equivalence Series" as social bodies; a re-thinking of Modernist figurative abstraction. They are a discursive formal and reductive language. As figures, they responsively acknowledge their material presence by establishing listening liminal spaces. These works investigate feminist subjectivity by propositioning the viewer's perception. Through what is and what is not they give space and voice to an in-between of possibility.
The "Equivalence Series" when exhibited together create a breathing space I like to think of quite literally as a living room. Each work is individual yet conversationally in a relationship to the others. Color is saturated and communal and contrasting; surfaces are thin, stained, and raw; forms are structured, incised, and permeated; space is autonomous, dependent, and open. Yet, these works are a re-determined whole cloth made whole again by the generosity of social context and structures with and through the viewer's perception. As we face the anxiety of many social, political, and climate crises, it is my intention that the works operate as reveals of humor and hope. With a vocabulary of forms and gestures, logic and feelings, they investigate the effectual and contingent spaces in relationship, portending places where assurances can be found.
Courtesy of Channel to Channel
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