Beauty Overdose

“People are like flowers, hurry to enjoy their beauty before they wither.” - the artist

Change can be so sudden, 2018, acrylics on linen, 78.7 x 55.1 inches, $2270

Change can be so sudden, 2018, acrylics on linen, 78.7 x 55.1 inches, $2270

I wrote this simple, naive poem when I was 16. In many ways this verse still sums up my artistic project. The awareness that life is temporary, constantly changing and has different phases, is probably my deepest motivation to paint. Through my works I seek to make both myself and my viewers aware of the temporal character of life, and urge us to embrace and find meaning in every phase. We don’t have to understand everything, but we need to accept; this is how I am right now, and it’s going to change. Whether I paint flowers, people, houses, landscapes or completely abstract motives, I seek to get conscious about this: Where am I now? What is happening in me and around me?

Lift your eyes, 2018, acrylics and spray on linen, 55.1 x 55.1 inches, $1570

Lift your eyes, 2018, acrylics and spray on linen, 55.1 x 55.1 inches, $1570

Life itself really manifests its patterns, phases and cycles through flowers and plants in nature. The parallels to human life are endless. Nature itself does something to us that words can’t explain. Is it the colours, the patterns or something else that makes being in nature a relief for modern humans?

Light-Hearted Power, 2018, acrylics on linen, 78.7 x 55.1 inches, $2270

Light-Hearted Power, 2018, acrylics on linen, 78.7 x 55.1 inches, $2270

COLOURS have a major impact on me and are a driving force in my work. Most of my paintings start off as play with colours I feel appealing. I follow my intuition, the pull in my stomach towards certain colours, lines and motifs. I explore emotions and experiences that are not available to me through words, and I find that more random techniques, such as letting paint drain, assist me in this exploration. Later in the process, figurative forms might appear. Most of the paintings are made up of several layers of paint, and have different structural surfaces. I let the paintings mature a lot during the process, and work on many canvases parallel. Many of my images have taken many months or even years to be completed. The distinctive expression appears after several layers. I give my paintings a lot of time to mature along the way, and it might take up to years from I start a canvas until it’s finished. I always have several canvases in progress. I totally embrace the opportunities computers opens to visual artists, and I often use my mac both before I start a canvas, during the process and after, to make digital giclee prints. Instead of blending the colours completely, I tend to use many different colours side by side in small areas or strokes. This makes both my paintings and the giclee-prints more like chameleons; the colours changes due to lighting and surrounding colours, so they tend to blend in, even if they are perceived as colourful.

Now is Your Time to Bloom, 2018, acrylics and spray on linen, 55.1 x 55.1 inches, $1570

Now is Your Time to Bloom, 2018, acrylics and spray on linen, 55.1 x 55.1 inches, $1570

The connection between painting and title / word is incredibly strong for me. Often, I do not know what I'm painting before the title comes to me, and that can happen both early and late in the process. When I suddenly "receive" words to a picture I'm working on, it's a strange experience. And it's not that I understand everything in my own picture just because that title "belonged to it". Words (title) and image can continue to vibrate together in a more or less enigmatic way year out and year in.

When Old Trees Bloom, 2018, partly hand-colored giclee-print on canvas, limited edition of 50, 30.7 x 22 inches, $520

When Old Trees Bloom, 2018, partly hand-colored giclee-print on canvas, limited edition of 50, 30.7 x 22 inches, $520

I tend to feature outlines and contours, and I also play with repetitions of these. Simplified shapes and lines feels like a relief for the eye and for the soul. I like the contrast between simple contours and more complex and messy areas. The contours clear up. In the same way scientific simplifications brings clarification and possibilities to make theories and explanations that help us understand the world. Outlines and simplifications highlight diversity if we also let the complex intricacies show. The same applies to reflections and repetitions; they also bring a sense of relief. When we see the landscape mirrored in the water, we perceive it as beautiful. Traditional crafts have through ages involved repeating patterns. The embroidery tradition around the national costumes here in my home area, Hardanger, is a living example of this. When we take in the beauty of these traditional works of repetition, I think they awaken a recognition of life itself and the circles of life.

Photo source: the artist

Photo source: the artist

About the artist:

[Lina Valland Lyngset] has a long academic education with major subjects in Pedagogics. In recent years, especially after she had children, painting has taken more and more of her time. In 2011, Lina had her first exhibition. After several years of part-time work, she [became] a full-time artist in 2017.

Represented at Galleri Iversen, Norheimsund.

www.linalyng.com / @linalyng

About the collection:

All the submitted works are a part of what I call my “Beauty overdose”-collection. I have returned to spring as a theme in my art several times through the years. Last spring, was very late where I live in Norway. I had planned many large-scale floral paintings for an upcoming show. Because my studio at the time was too small for the size of canvases I wanted to use, I had to wait for the snow to disappear from my garden so I could paint them there. When spring finally arrived, everything kind of exploded, both in nature around me and on the canvases. All these works are reflections of the vibration from the transformation taking place in nature and the new life breaking through.


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