Chop Wood, Carry Water. Acrylic on panel. 2011.
A commission for Julie Longyear’s boo’s bday, a beautiful barter with her Irie Star lineup!
I want to smile down at you from your walls! Heaven in 2011 = Now is the time to add a true blue Lyndsey Scott OG to your budding collection. Mwah Kiss your face. Real art is for everyone. I particularly love to remix trees and Brueghel’s Tower of Babel, but your whim is my command. I am available to make paintings this February-March, so have your people call my people.
My 2011 itinerary requires a bit more cash flow than usual as I’m thrilled to seek out formal yoga training to equip my personal practice and build a foundation to teach&play with the kid set.
Particularly I’m dreaming about training:
With Yoga For Youth, a phenomenal program out of LA that translates yoga into an accessible and inspiring resource for youth in juvy
At Esalen Institute Work Study, with based on the work of Gabrielle Roth’s Five Rhythms
At Kripalu Yoga Teacher Foundations Program 200h
AND! ACT FAST! If you order soon, your painting comes with a yummy acro-yoga massage and free installation (if you train or teleport me to you )
Loving what is,
Lynds
“You Answer Something In Me”/ Drawing contribution to the Poetry Scores auction, (2009)
“The House of God is also a Black Hole”/ Painting contribution to the Poetry Scores auction (2008)
“Together we are the perfect day, and among us dwells the light which does not fail” / Congloppoalous contribution to the Poetry Scores auction (2007)
Sissyphus Remix I: Up the Spine (2010); Sisyphus Remix II: Each Cell its Perfect Work (2010) / Acrylic on canvas
The occasional afternoon Craigslist creative-gig cruise yielded a most delicious proposition: create a handcrafted collage card for a kindly gentleman’s on-again off-again ladyfriend. Please, let me! We conspired about what kind of flower to buy (protea or bird of paradise? simple and elegant) and decided on everybody’s favorite Rumi. My favorite movable part is the butterflies’ snuggle-landing-pad.
Ever since I fell in love with the community members of the tribe Infrastructure (light posts, water towers, electricity lines, satellite dishes), Signs hold a special place in my soul. I especially enjoy helping small businesses spruce up their street presence by creating colorful hand-lettered advertisements on glass, metal, or panel.
Argus Nest / Closeup of collage-painted surface at Artica. Collaboration with Lezlie Silverstein, 2004.
If these walls could speak, their story be always changing. I love to use art and language to shape and shift an environment. A few proven guidlines for me ~ either by invitation or permission, or easy to remove / non-damaging. I want the work to be a gift ~ well-received or simple to get rid of. Here are some interior and exterior examples:
I AM LOVED / Continuing installation on Cherokee Street. Inspired by the grafitti that used to be written across the plywood where Foam now is — “LOVE” scrawled gigantic and sloppy. Shown here photographed with Jason Deem’s RESTART and the Texas twins who aided installation.
TOPPLE in the Mission / Temporary installation in the Clarion Alley.
Transformateurs / Installation across from Cherokee Cuts and Cherokee and Nebraska.
We Incredibles/ Installation at Cherokee and Pennsylvania. As described by a rollerskating ten year old: “I think this painting is about when all the adults finally quit their jobs and go outside to play.”
Nuestra Virgen de Traveling Mercies / Collaboration with Mike Pagano in spray tempera at Katie Mac’s for Mexico fundraiser.
Keeper of the Keys : Flood wall practice
Argus Nest / Ongoing project with LezLeider at Artica over two years. Inspired by Saint Lucia and the mythological Argus monster.
We Come Together Like Opposites Attract / New-sign installation in SF Potrero meditation on the oneness of villains/victims, interwovenness of dark/light
I Feel It All/ doodle-mural on the 3rd floor of the Flora mansion living quarters
Where there is Love, There is no Question / quickie in my childhood room at my parents’ house
Nothing can Separate Us / chalk doodle with kids at Cultivadores
Born into Color: an Installation at The Community Arts and Movement Project, July 2010
The show, during CAMSTL’S Open Studios 2010, included paintings, drawings, and sculptures created during project residency at CAMP from April 2009-June 2010 when I lived and volunteered as the Events & Outreach Coordinator. My residency goals were to broaden my perspective, grow relationships with local families, and find ways to support health. I facilitated neighborhood potlucks, held drawing nights, wrote grants, weeded community gardens, created interactive murals, listened door-to-door, and alongisde Sarah Paulsen’s leadership, helped to start up the PEOPLES JOY PARADE – a joyful dancing-in-the-streets processional full of simple celebration. Cayree Dobsch and I created “Gracespace” – an art/yoga program for local pre-teens. CAMP taught me about staying centered and self-nurtured while opening to be present to the worlds within worlds of wherever you are.
Steering Whee!/ Gum, marker, found objects. This happens at stop lights.
Go Back to When You Could See the Shape of Things/ My studio floor on Illinoise Avenue was the same as the kitchen floor I grew up with, in which i used to find bears and faces during dinner. I remember when not everything was already named. . .
Leglove/ Marker, legs. This happens during long road trips.
My Momma Is / Laminated photocopy of original marker on shrinky-dink drawing
Inspired by Frida Kahlo and the amazing FIREDOG song (You Don’t Know My Momma) written by Mark Pagano and the youth of The International Playground.
Topple / After Brughel’s Tower of Babel
One of my favorite images to paint and paint again, I imagine the top of the ‘hourglass’ is the universe’s mirroring our attempt to “build up to God” . . . . the complete shape is the story of our reaching and remembering how to speak and live the language without words. One tongue, touch, move, sound, raw inter-speak. Glossolalia, squeeze through the middle and kaBloom! Lately I want to flip the shape on its side, verticality given over to horizontality of Radical Equality.
The Tree of Knowledge of Gooeyville / Oil and collage on canvas (2005)
The Living Tree / Community Installation at St. John’s Episcopal Church (2005-2006)
The first art I remember making for public consumption was a poster contest that won me a bike in first grade: after a big ice storm I drew a picture of the trees that had been damaged regrowing and healing. I’ve always loved climbing trees, touching trees, collecting seeds, feeling how my lungs look like that. The above images are process paintings I did in studio during the time I was creating a large tree sculpture project.
In 2005, I was commissioned by Pastor Teresa Mithen along with artists Jason Wallace Triefenbach and Patrick Ritchey to collaborate with the congregation in creating an inviting tree-bench to welcome parishioners into the fellowship hall. Together with community members of all ages, we created hundreds on hand-built clay leaves. The sculpting took place in nontraditional places such as Sunday school, park festivals, coffee shops, and bars with the intention to ‘publicize’ the democratic, relational act of grassroots design. We fashioned a tree from native and found materials, fired the leaves, and installed them in a 3-dimensional arrangement from the ceiling, walls, and branches that emerge from the brick corner. The truck and roots melt into two benches that welcome rest in the tree’s embrace.