David Linn was born in Palo Alto, California and grew up in the hills of the South Bay peninsula. He began painting shortly after birth and has paused only occasionally to pursue other interests such as music composition and performance, mountain climbing, and designing objects that fly. He received an MFA in painting from Brigham Young University, and currently resides at the foot of a mountain in Utah, with his wife, Jefra (a professional photographer) and three children. He cites influences as divergent as Baroque masters and American Luminists to contemporary Conceptual Site and Earthwork artists. David's paintings can be found in various museum, corporate, and private collections throughout the country. He is represented by the Turner Carroll Gallery in Santa Fe, NM, and the Bella Mesa Gallery in San Diego, CA.
“My work is born out of a need to articulate for myself the terrain of my own passage through mortality and to explore the events and implications of man's spiritual existence and journey- that which forms deep currents flowing beneath the observable world. The symbolic internal worlds and environments of my paintings seem at times more real to me than my physical environment because they are evidence to me of what is felt most acutely. The paintings then become objects of devotion- personal evidence of a process that is verbally inexpressible. My work has evolved into a meditation on themes of searching, passage, and purification through these internal wilderness places- a landscape where events and objects assume multi-layered symbolic significance and actions become ceremonial in nature.
“My work is born out of a need to articulate for myself the terrain of my own passage through mortality and to explore the events and implications of man's spiritual existence and journey- that which forms deep currents flowing beneath the observable world. The symbolic internal worlds and environments of my paintings seem at times more real to me than my physical environment because they are evidence to me of what is felt most acutely. The paintings then become objects of devotion- personal evidence of a process that is verbally inexpressible. My work has evolved into a meditation on themes of searching, passage, and purification through these internal wilderness places- a landscape where events and objects assume multi-layered symbolic significance and actions become ceremonial in nature.
A Pilgrim's Progress
David Linn's heavily metaphoric paintings come out of what he sees as his ability as an artist to be in tune with the connections and currents that tie our daily, mundane world to more universal and spiritual concerns.
"The title of this particular show is Substance of the Unseen, and, like most of my work, deals with what is invisible to the naked eye but marks everyone's passage through mortality. I feel acutely attuned to these unseen facets of our existence, and that's why I do what I do. My art is evidence to myself of what I can't see but feel very acutely."
While the work may at first seem laden with symbolism, Linn doesn't want this to make collectors feel apprehensive about approaching and understanding the work.
"I create images that might seem cryptic or strange to the viewer, but to me they make perfect sense," says Linn. "I fashion these things and put them out there as objects of devotion- devotion to what I believe and what I feel. The things I sense and feel defy verbal explanation and lead to imagery that articulates constructs that have multiple meanings and many layers and currents that go beneath out observable world."
For Linn, the importance of these images comes not only from their ability to visually depict these issues, but to also show the variety of ways humans connect on this fundamental level.
"The world we inhabit is not just a natural world, but a world that's also been manufactured and constructed over thousands of years," says Linn. "And unseen threads weave a vast tapestry that is difficult to see given the proximity of our lives to it- but it is what binds us all together and creates the universal in art. The things that artists try to present are the things that have influenced mankind for thousands of years and are what unites us to those who have long passed on."
Linn also sees these new paintings as having deeper, more personal meanings for him beyond the more universal aspects of the work.
"My art becomes tangible personal evidence of my own passage through mortality," says Linn. "Another type of imagery that continually appears in my work is the solitary male figure, usually engaged in some kind of cryptic ceremonious activity. The face is usually obscured or difficult to recognize and represents some universal person picking his way across the terrain of life and engaging in actions and ceremonial activities that allude to commonplace, everyday experiences."
Images or symbols seem to find ways of reappearing in many of these new paintings. One with special significance to Linn is the talus field, or boulder-strewn field that is usually found on the side of a mountain.
"The talus field for me is a metaphor for life," says Linn. "If you've ever traversed a talus field, as you try to pick your way across it, the rocks are constantly shifting and each one affects the other. As in life, decisions and actions have a profound effect, but one that is largely unseen. For me, the talus field creates a terrain in which I can place objects and figures, much like a stage."
Linn loves when collectors take the time to stop and notice his work, especially when considering the constant assault of images and input that are delivered to us on a daily basis.
"Stop to consider the art," says Linn. "One thing I try to generate in my work is a sense of stillness, even when some sort of activity is taking place. I enjoy the act of introspection that art can generate in the viewer and its ability to trigger as of yet unasked questions the viewer may have regarding his or her own life and purpose in life. So many things transcend the visual world, and I want to suggest that there are unseen worlds that are more meaningful than what occupies much of our daily lives. This is not a denouncement of the material world but rather a reminder that there is more than that."
The Collectors Say… "When we saw David Linn's The First Labor, we immediately felt a strong emotional and spiritual connection to the piece. It is a powerful painting. It causes us to contemplate many aspects, physical and spiritual, of life's journey.
David Linn's heavily metaphoric paintings come out of what he sees as his ability as an artist to be in tune with the connections and currents that tie our daily, mundane world to more universal and spiritual concerns.
"The title of this particular show is Substance of the Unseen, and, like most of my work, deals with what is invisible to the naked eye but marks everyone's passage through mortality. I feel acutely attuned to these unseen facets of our existence, and that's why I do what I do. My art is evidence to myself of what I can't see but feel very acutely."
While the work may at first seem laden with symbolism, Linn doesn't want this to make collectors feel apprehensive about approaching and understanding the work.
"I create images that might seem cryptic or strange to the viewer, but to me they make perfect sense," says Linn. "I fashion these things and put them out there as objects of devotion- devotion to what I believe and what I feel. The things I sense and feel defy verbal explanation and lead to imagery that articulates constructs that have multiple meanings and many layers and currents that go beneath out observable world."
For Linn, the importance of these images comes not only from their ability to visually depict these issues, but to also show the variety of ways humans connect on this fundamental level.
"The world we inhabit is not just a natural world, but a world that's also been manufactured and constructed over thousands of years," says Linn. "And unseen threads weave a vast tapestry that is difficult to see given the proximity of our lives to it- but it is what binds us all together and creates the universal in art. The things that artists try to present are the things that have influenced mankind for thousands of years and are what unites us to those who have long passed on."
Linn also sees these new paintings as having deeper, more personal meanings for him beyond the more universal aspects of the work.
"My art becomes tangible personal evidence of my own passage through mortality," says Linn. "Another type of imagery that continually appears in my work is the solitary male figure, usually engaged in some kind of cryptic ceremonious activity. The face is usually obscured or difficult to recognize and represents some universal person picking his way across the terrain of life and engaging in actions and ceremonial activities that allude to commonplace, everyday experiences."
Images or symbols seem to find ways of reappearing in many of these new paintings. One with special significance to Linn is the talus field, or boulder-strewn field that is usually found on the side of a mountain.
"The talus field for me is a metaphor for life," says Linn. "If you've ever traversed a talus field, as you try to pick your way across it, the rocks are constantly shifting and each one affects the other. As in life, decisions and actions have a profound effect, but one that is largely unseen. For me, the talus field creates a terrain in which I can place objects and figures, much like a stage."
Linn loves when collectors take the time to stop and notice his work, especially when considering the constant assault of images and input that are delivered to us on a daily basis.
"Stop to consider the art," says Linn. "One thing I try to generate in my work is a sense of stillness, even when some sort of activity is taking place. I enjoy the act of introspection that art can generate in the viewer and its ability to trigger as of yet unasked questions the viewer may have regarding his or her own life and purpose in life. So many things transcend the visual world, and I want to suggest that there are unseen worlds that are more meaningful than what occupies much of our daily lives. This is not a denouncement of the material world but rather a reminder that there is more than that."
The Collectors Say… "When we saw David Linn's The First Labor, we immediately felt a strong emotional and spiritual connection to the piece. It is a powerful painting. It causes us to contemplate many aspects, physical and spiritual, of life's journey.
Born 1959, Palo Alto, CA
Education
1997 MFA, Brigham Young University School of Visual Arts
1986 BFA, Brigham Young University College of Fine Arts
Selected Awards
2007 Directors Award, The Spring Salon, Springville Museum of Art
2005 Merit Award, Spring Salon, Springville Museum of Art
2003 Utah Arts Council Grant for “Where They have Walked”
2003 Directors Award, The Spring Salon, Springville Museum of Art
2000 First Place, Spiritual Art of Utah, Springville Museum of Art
2000 Merit Award, Fifth International Fine Art Competition, Museum of Church Art, SLC, UT
1998 Utah Arts Council Grant for “Days I Have Been Given”
1998 Merit Award, The Spring Salon, Springville Museum of Art
1997 Best of Show, Freedom Festival Fine Art Exhibit, Brigham Young University, Provo, UT
1997 Purchase Award, Museum of Church Art and History, SLC, UT
1997 Award of Merit, Museum of Church Art and History, SLC, UT
1996 Utah Arts Council traveling Exhibit Awards
1994 Visitors Choice Award, Museum of Church Art and History, SLC, UT
1990 Bronze Medal, The Creative Show, Cambridge, MA
1988 Award of Merit, Society of Illustrators, New York, NY
1987 Purchase Award, AIGA Invitational Exhibition, San Francisco, CA
1986 Silver Medal, AIGA, Salt Lake City, UT
Education
1997 MFA, Brigham Young University School of Visual Arts
1986 BFA, Brigham Young University College of Fine Arts
Selected Awards
2007 Directors Award, The Spring Salon, Springville Museum of Art
2005 Merit Award, Spring Salon, Springville Museum of Art
2003 Utah Arts Council Grant for “Where They have Walked”
2003 Directors Award, The Spring Salon, Springville Museum of Art
2000 First Place, Spiritual Art of Utah, Springville Museum of Art
2000 Merit Award, Fifth International Fine Art Competition, Museum of Church Art, SLC, UT
1998 Utah Arts Council Grant for “Days I Have Been Given”
1998 Merit Award, The Spring Salon, Springville Museum of Art
1997 Best of Show, Freedom Festival Fine Art Exhibit, Brigham Young University, Provo, UT
1997 Purchase Award, Museum of Church Art and History, SLC, UT
1997 Award of Merit, Museum of Church Art and History, SLC, UT
1996 Utah Arts Council traveling Exhibit Awards
1994 Visitors Choice Award, Museum of Church Art and History, SLC, UT
1990 Bronze Medal, The Creative Show, Cambridge, MA
1988 Award of Merit, Society of Illustrators, New York, NY
1987 Purchase Award, AIGA Invitational Exhibition, San Francisco, CA
1986 Silver Medal, AIGA, Salt Lake City, UT
Selected Honors
2007 “And then I Looked” purchased by the BYU Museum of Art
2006 “Remember These” purchased by the Avampato Museum for their permanent collection.
2004 “The Gift” purchased by the State of New Mexico for their permanent collection.
2002 Recipient of special declaration by the Lieutenant Governor of Utah as one of Utah's Outstanding Artists
2002 Selected as “One of the Hundred Most Honored Artists of Utah” by Olympic Curatorial Committee
1996- Present Who's Who in the West
1988 Outstanding Young Men of America
1986 The Will Award, Brigham Young University College of Fine Arts
1985 The Honored Student Award, Brigham Young University College of Fine Arts
1982-5 Talent Award Scholarships, Brigham Young University
1978 Who's Who Among American High School Students
Teaching and lecturing
2000 Juror and Lecturer, Drawing 2000, Brigham Young University
1994 Guest Instructor, Brigham Young University School of Visual Arts
1993 Guest Lecturer, Brigham Young University Department of Design
1984 Drawing Instructor, Brigham Young University Department of Design
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