Lynn Christopher

Biography

I began my career as a Set Designer at Universal Studios in the art department. I went on to become an Art Director, and over the span of 33 years, worked on many wonderful films and television shows, both set designing and art directing at the major film studios. In the last few years, I have studied at the local art academies in the Los Angeles area, first painting, then, as the classes became available, I studied sculpture. I have had the privilege to study with some extraordinary sculptors during that time, which helped to set the direction of my current work approach. I am now working full time in my studio developing works that take a new direction in technique and materials. this is a new and invigorating development for my art, and am very excited to see what the future days bring.

My work is focused on the female nude figure. I have chosen to work with water based clay, using hollow building techniques. There are many challenges to this approach, and I love the variety of challenges that come as a work progresses. Since there is no internal armature, I must be mindful of the nature of the clay, have a conversation if you will. There is something very compelling about the relationship between artistic vision, and the nature of the materials we choose. As I work, I allow the forms to appear, working both inside and out, working the clay from the bottom up. I  stay open to the suggestions that come from this process, and let the image take shape as a process................this fascinates me. The pieces are fired in an electrie kiln, and finished with various stains and casein colors. I am also experimenting with colored slips. The possibilities are endless.

Statement

The experience of looking at art is rich with mystery, wonder, and curiosity. The artist is in a unique position, one of creating a work of art that can stir any one of these emotions within the us as viewers and mine the potential of connecting with our own humanity . In starting a sculpture, I look for a moment through gesture that will resonate with the potential of evolving into something that has deeper meaning, which will be discovered as the piece develops. I work from the model, but I am not interested in copying what is in front of me. I emphasize rhythms, subtle gestural notes, and facial expressions to create a presence, a life that brings to the viewer a connection to the emotion that develops as the work evolves. I want to offer sculpture that, when viewed, allows us to recognize the elusive nature of our selves. Ultimately each sculpture must have it's own unique presence that is visceral, introspective and timeless.

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