Linda Reymore

As a young child, one of Linda Reymore’s “summer enrichment” programs was an oil painting class taught by a local artist in St. Louis. To this day, many of the instructor’s lessons on color and color mixing, composition, and observation, as well as her teacher’s encouragement provide the stimulus for Linda to keep making her art.

Linda’s art education includes a Bachelor of Fine Arts degree from St. Mary’s College at Notre Dame, Indiana, and a Master of Science in Marketing Communications from Roosevelt University in Chicago, Illinois. In the early 1970’s Linda exhibited in a solo gallery showing in Kinston, North Carolina and afterward sold a number of her works from that exhibit to a corporate collection.

Linda’s subsequent career, while outside of the art field, was supplemented by volunteer activities in her Florida community where she used her business, art, and graphic design abilities to market and grow audiences of the local arts organizations including the art council and youth symphony.

Upon retirement, Linda returned to creating art and participating in art calls for competitive and exhibition opportunities. Her work has been accepted in a number of national and international juried exhibits in Florida, Alabama, and Texas. Linda was especially happy to receive "Best In Show" in the 28th Annual All Florida Juried Art Show and Exhibit and third place in the Texas National 2020 exhibit in Nacogdoches with Annette Lawrence as juror (750 pieces submitted).


Portfolio:

Compositions

Regardless of the media or style, the work of an artist could be considered as a snapshot capturing the thought in the mind of the artist at the moment the artist obtains satisfaction in the creative process. Satisfaction with a piece does not necessarily mean completion of the creative process as the resultant piece often begets a desire to explore a particular aspect or idea derived from the previous piece.

My projects often begin with a variably triggered, non-objective visual idea for which I feel a compulsive creative energy to translate into a physical object, usually on canvas. My work demands the mustering of a great deal of my intellectual concentration to accomplish this task. Determining the juxtaposition of forms, either organic or geometric, in my compositions is like creating pieces of a puzzle and fitting them together. My creative process moves through an evolution of form, texture, line, and color in which I perceive each element craving a compositional pose. Finding the order in which to assemble and balance the pieces to make them "comfortable" or "comfortably uncomfortable" with each other in a workable composition is the challenge. Currently in the execution of my creative process, I incorporate tactile surface elements in compositions using a variety of textural materials (i.e. canvas, modeling compounds, screening materials, cloth, canvas cutouts/extrusions, etc.) that seem to induce a desire in my viewers to physically touch. Changing emphasis on the elements in my projects allows me a path for exploration as well as freedom from a formulaic personal style.

Generally, in my work there is nothing intentionally recognizable or unrecognizable. Without creating terminology, I would simply call it non-objective both in form and thought. In analyzing my process and product, I believe I am making a personal effort to not comment or react to things, places, or events in the frenetic world surrounding all of us. This does not mean I never uncover a note to self in my work. Rather for my viewer, I hope to create an interesting respite from a ubiquitous cacophony. I invite viewers to engage in a simple sensing experience without a requirement to quantify, justify, or categorize.