Lynne Smith  |  Work

My Intuitive approach to making is rooted in the delight of discovery and play. It is an ongoing fascination with the beauty of imperfection, the history and energy of materials, and the possibility within everyday things.

Background

I am a multidisciplinary artist and designer living in Portland, Oregon. I hold a BFA in Graphic Design from the University of Kansas and studied at the Yale University Summer Program in Graphic Design in Brissago Switzerland.

 

Visual Design is the common thread in the patchwork quilt of my professional career to date– from Graphic Design to Design for the Built Environment. 

 

The guidelines and rigor of these professions
are flanked by my emerging art practice.

In my work as an artist, I am able to create without boundaries or obligation. It is here where I willingly abandon control and precision for unpredictability and improvisation.

 

While I am not an 'early career' artist, I have unbridled energy for making, and a rich life experience that informs it. What interests me now is not something I could have imagined in my youth. Motherhood, trauma, aging, time (and yearning for more of it), inequities in our society and the state of our planet hold space in my practice. My need for making is growing larger each day, as is the container in which it happens.

"Sometimes it is the artist's task to find out how much music you can still make with what you have left.” - Itzhak Perlman

Statement

​I am fiendishly attracted to the scrappy bounty tossed in dumpsters, boxes and bins left for rummaging and debris on the side of the road. These discards whisper possibilities that my imagination cannot ignore.

 

My intuitive approach to making is often inspired by my materials and atypical notions of beauty.

From frayed fibers to dirt and decay, irregularities and imperfections possess a quality no skilled eye or hand could possibly manufacture.

 

I am interested in the history of and the energy embedded in objects and materials – from the force that manufactured them to their use in past lives. The work of my own human hand – as it moves over and under, and makes knots, twists, and curls - leaves its own energy and imperfections in every work. 

 

My interests and attention are continually shifting between contrasting realms - simplicity and abundance, order and chaos, natural and manufactured. This dance is the world I live in and there is unexpected discovery at every turn.