Linda King Ferguson says she thinks of the Equivalence Series as social bodies.  They both remember a position and locate a place, making the painted social body a site of occurrence. As a site, they articulate the abstracted and formal operative and associative language of relationship; relationships that proposition viewers’ perception through what is and what is not, directing their view to the greater social context. Lucio Fontana was one of the first artists to cut open his canvases, exposing and directing the viewer to what he conceived of as the sublime cosmos beyond.  She believes form follows feeling and the sublime is accessible in the here and now through the emotive relationships we make.

 Through a feminist lens, the Equivalence Series sources hues from lipstick and nail polish sample charts. Linen, both raw and painted, is like the haptic texture of skin. Form generates from nature’s geometric principles, and felt gestures become the curl and curve of opened flapped forms. Lines as edges traverse smooth surfaces, defining protective outside layers and exposing interior vulnerable absences. These careful and stilled material glimpses signify a reflexive meaning. And a Studio is not unlike a Waiting Room; A place between of careful measures, uncertainties and anticipation.

Our current conditions require us to shelter in place, making our homes perpetual waiting rooms as we rely on the intimate distance of our devices to communicate and connect. In isolation, it’s these threads of connection that assure us of our humanity while we practice the acts of being and making through emotive gestures. We must plan and work, and heal and hope through a shared empathy while change is being made.