Art Chowder: Linda, thanks for inviting me
up here and welcome to Art Chowder! Ac-
cording to your website, you have a back-
ground in earth science. What inspired you
to make the leap from science to art?
Linda: I have a bachelor of arts degree
in geology from Colgate University and
a master of science degree in geology
from Eastern Washington University.
Geology brought me a further appre-
ciation of the earth’s natural beauty,
dynamic nature, and diversity. However,
animals have also been a passion of
mine since I was a little girl, and paint-
ing them is a way I express that passion.
I don’t consider the transition from
geologist to wildlife artist as a leap, but
rather as a new way of telling the natural
world’s story.
Art Chowder: The animals you paint are
amazingly lifelike. As you learned your
craft, did you have a mentor, or teacher who
shaped your style?
Linda: Any artist who says they are com-
pletely self taught must have never seen
another painting.
I’ve not had a teacher, but have looked
at a lot of art and have a good circle of
artist friends with whom I trade sugges-
tions.
My travels to see and experience ani-
mals in their natural habitats has helped
immensely in informing my work. There
are probably many things I take in sub-
liminally — seeing the light and flora
and fauna in New Zealand versus that of
Wyoming, Scotland, or Kenya.
Art Chowder: What do you call your style of
painting?
Linda: I guess I would call it Impression-
istic Realism. In each painting I render
the important details with a finer hand
and the remainder of the painting, which
is often looser, is designed to lead you to
the “important stuff.”
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ART CHOWDER MAGAZINE
Art Chowder: Do you work exclusively from your own photos and sketches?
Linda: Yes. My reference photos are an essential aid in constructing my composi-
tions. (The fleeting glimpse of a cheetah is hard to capture in a sketch, though I
will sketch slower species.) I probably have 22,000 prints (before digital) and over
140,000 digital images I’ve personally taken. Each is referenced and cross-refer-
enced. It often takes eight to12 photos for me to work up one composition. Add to
that my own sense of color and place and I have a painting idea.
I’ve been asked if I work on more than one painting at a time, which many artists
do. For me, working on one piece from start to finish helps me focus on the light,
color, atmosphere, and sensations of the place. I try to mentally relive the experi-
ence to capture the essence of the place. My next painting, inspired from the time I
spent in Manitoba, is a polar bear with the Northern Lights. If the following piece
uses the colors of Africa — say a lioness with two cubs — I’ll want to focus on
the emotions I had watching them.