Jill O’Bryan on Linda Lynch

Inside this drawing live an infinite number of drawings, fluidly created and recreated by the artist until black pastel pigment and white paper coexist, neither one emerging triumphant over the other. Impossible to erase, the black pastel demands a one-way journey. Once black, forever black. And yet the white of the paper is not just the absence of black… just as Dark Ribbon Drawing is not a drawing of a ribbon. The conceptual origin of this work is Minimalism. Lynch says: “Pigment, plane, paper. Nothing more.”

Dark Ribbon Drawing triggers in me a desire to taste blackness. Even now I cannot come up with a word to adequately describe either this hankering to taste it or the specific quality of blackness that Lynch achieves with this pastel medium. The equation of deepness and darkness in contrast to light does not adequately describe the juxtaposition here. Neither does yin/yang. Nor positive/negative. However the black and white do emerge out of one another in a sort of impossible way, as do the planes that describe the white as “not” a ribbon. I love this play between object/non-object that challenges the viewer as they read the title. Lynch creates tactile and conceptual opposites while simultaneously defying them. They emerge from a world that is not ours but that is fully occupied by the medium—black pastel pigment.

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My first reaction is the desire to reach out and touch the soft, nubby, black velvet and the cool, smooth, silver, ribbon/streamer.

“Dark Ribbon Drawing” STUNS!!!