Artist Statement

I have often tried to explain to myself and to others the way I work, what I call my process. There are times when the fog lifts and it becomes clearer to me, more defined, but any reasoned clarity soon clouds over again. To start working i create a microcosm, a world of my own. The work in my studio, finished or in progress, is very nonchalantly but deliberately laid out. The finished pieces are turned back against the wall so as not to distract me. I am usually working on several pieces at the same time. The actual painting process has to be free and gestural yet calculated and controlled from within. The starting point for both form and colour is often a smaller piece, a work on paper or wood that I have selected from my "working drawings". I paint listening to music, working from my mind's eye, not consciously analyzing in order to keep the balance between the emotional and technical aspects of the work. Often the most unexpected works the best. 

Artist Resume / Curriculum Vitae
 

Lindy Foss-Quillet has a Bachelor of Arts from St. Martin's College of Art London. She has lived and worked in Paris most of her professional career. She has also lived in Toronto, London and Hong Kong, all places and travels that have influenced her art. She has had solo exhibits in London, Paris, Milan, Italy, Hong Kong and with us, Kiesendahl+Calhoun, ten years ago, at our gallery in Beacon, New York. 

The artist says that she creates a microcosmic world of her own in her studio and that her work is very nonchalantly but deliberately laid out…The actual painting process has to be free and gestural yet calculated and controlled from within. “The starting point for both form and color is often a smaller piece, a work on paper or wood that I have selected from my "working drawings". I paint listening to music, working from my mind's eye, not consciously analyzing in order to create a balance between the emotional and technical aspects of the work. Often the most unexpected works the best.” 

As an abstract colorist, Lindy ventures into an array of energy fields with her colors, forms and strokes of her brush. Radiant with light, thermal with heat, and kinetic in acceleration, some parts of her work seems to take flight, while others create a kind of gravitational pull. Receding, advancing, exploding and quieting, Foss-Quillet’s work balances in the end, championing both the yin and the yang.