Harold Linton is a Michigan artist who received his Bachelor of Fine Arts from Syracuse University, New York, and his Master of Fine Arts from Yale University, Connecticut. He has worked at several universities both nationally and internationally, serving the administrations of George Mason University, VA; Bradley University, IL, and the College of Architecture at Lawrence Technological University in Southfield, Michigan. He has made large strides in architectural education, having founded the first B.F.A. degree program in Architectural Illustration in North America, offered at Lawrence Technological University. His artwork can be found in numerous public, private and museum collections.
Weavings of Pigment, Light, and Movement
As my paintings have come increasingly to integrate a consistent and programmatic structural design, composition have become a vessel into which a concept for color and light are constructed in spatial invention.
The grid structure forms a armature upon which stained passages of transparent and opaque color form elements of figure and ground. Qualities of dappling light, implications of reflections, shifts in watery and opaque textures combine to underscore the subject which is shifting time and change.
The construction of field or atmosphere through which a formation of light and gradation is experienced constitutes a tension between kinetic qualities of visual movement and looking through the grid into a third dimension of illusory space.
These are color animation of light and movement that originate in the concept that the [color] field is a metaphor for a greater atmosphere that envelope us. The organization of visible movement is but one set of option we direct our view and interaction.
Because each painting is composed of a large number of individual elements, the viewer is not allowed to rest with a sort of visual over stimulus. The lyrical and kinetic qualities of the color field create intensities that form push and pull passages discernible and yet imply extension beyond the limits of the filed.
The visual choreographies of composition result from the inventing end rephrasing of color form relationships within a larger exploration of interval, texture, and light. Paint handling gives a special gestural element and dynamic to a world of microscale shape areas. Actual transparent staining of the canvas with layers and progressive passages of color build on top of one another into cadences.
Composition is the result of looking into the progressions of movement and color direction. What appears to be by implication and what is not visible are both confronted simultaneously. From subtle figuration, amorphous clouds of light suspended throughout the work appear to be absorbing the light of the painting. Meandering lacy and yet pertly figural forms develop ideas of rotation, defined courses, fixed yet shifting constellations of points of light.