Artist Lindy Carter is a Utah artist that does watercolors. Her work though resembles textured oil paintings. She uses a surface called "Gator Board" to paint on that she textures heavily with Gesso. Her landscapes are very atmospheric and come mostly from her imagination. The process allows one to remove paint and go back to white, something that you can't do if you paint on paper.
We will do two painting in this fashion,one landscape and one portrait. The portrait is covered with a dark watercolor paint and then the highlights are brought in by removing the paint with tissue. Most of Carter’s paintings are small, measuring a mere five inches square. They are in watercolor painted on gessoed masonite. Carter uses a subtractive method in which she rewets the paint and pulls it from the surface, allowing the grainy quality of the paint and happy accidents to enliven her work. They are surprisingly simple little pieces, which is probably what initially intrigues the viewer. They may be simple, but titles such as “Even in Sadness,” “Strange Potential” and “Provincial Irony” tease the viewer to look deeper and uncover a more meaningful content.
Trees are a common symbol used by Carter. “A professor of mine once told me that trees are a metaphor for that which connects heaven with the earth. I later realized he was talking about all of us. Every time we dig our toes into the mud or dance with our arms waving free, I think of that part of us where heaven and earth collide.”
It is clear that serenity and simplicity is what Carter craves. She says each of her paintings is really a “snapshot of a larger picture.” Studying the details of something larger and more complicated is her way of making sense of the chaos that surrounds her.
Here are some examples of her work.
http://www.phillips-gallery.com/lindey-carter36
We will do two painting in this fashion,one landscape and one portrait. The portrait is covered with a dark watercolor paint and then the highlights are brought in by removing the paint with tissue. Most of Carter’s paintings are small, measuring a mere five inches square. They are in watercolor painted on gessoed masonite. Carter uses a subtractive method in which she rewets the paint and pulls it from the surface, allowing the grainy quality of the paint and happy accidents to enliven her work. They are surprisingly simple little pieces, which is probably what initially intrigues the viewer. They may be simple, but titles such as “Even in Sadness,” “Strange Potential” and “Provincial Irony” tease the viewer to look deeper and uncover a more meaningful content.
Trees are a common symbol used by Carter. “A professor of mine once told me that trees are a metaphor for that which connects heaven with the earth. I later realized he was talking about all of us. Every time we dig our toes into the mud or dance with our arms waving free, I think of that part of us where heaven and earth collide.”
It is clear that serenity and simplicity is what Carter craves. She says each of her paintings is really a “snapshot of a larger picture.” Studying the details of something larger and more complicated is her way of making sense of the chaos that surrounds her.
Here are some examples of her work.
http://www.phillips-gallery.com/lindey-carter36