Skip to main content

Lyn Horton: Wall Drawings and Works on Paper

Horton &
photo by Richard Laurie 

Lyn Horton: Wall Drawings and Works on Paper

Cross MacKenzie Gallery is pleased to present a solo show of wall installations and works on paper by Massachusetts based artist, Lyn Horton, following her well-received participation in the gallery's spring group show, "TWISTED". This exhibition presents a more complete picture of Horton's oeuvre from her individual small works on paper to her monumental site-specific wall drawings that employ velvet rope for the linear elements and are applied directly onto the painted wall.

Horton's work is visual jazz - rhythmic, layered, sensuous and adheres to her own sensibilities. It is no surprise Lyn Horton writes about jazz - her passion. Her reviews have been regulars in Jazz Times, The New York Jazz Messenger, her own music blog - "The Paradigm for Beauty" and other publications, and her drawings have graced CD covers, most recently Wadada Leo Smith's "Ten Freedom Summers". Her jazz musings could describe her own art. Though reviewing a musical artist, Horton said; "The music Is thematic, tends to be quiet, slightly explosive, adheres to (the musician's) sense of humor, lyricism and even romantic melody" - an apt expression of the Lyn Horton exhibition in our gallery September.

As Mark Jenkins noted in his review in the Post of her recent work, " the drawings are still minimalist but with a sensuous ease" and "her "Loop" series twirls further away from Euclidean geometry".Many of the works in this exhibition are made of hypnotic twists of interwoven lines starting with circles and swoops that build to a crescendo - one layer over the other, line after line (or note by note and phrase by phrase) - in a repetitive, rhythmic, musical pattern.

Horton's MFA degree show at Cal Arts focused on the line and its place in minimalism and she has continued mining that vein ever since. Her experience executing wall drawings for minimalist Sol Lewitt informs her practice; she is a master of controlling her small pencil - mark by mark - with quiet, obsessive, painstaking, repetition - until a large and powerful work of art emerges.

The opening reception for the artists is September 7, 6-8.  The show is on view thru Sept 29th.

For digital images and more information contact: Rebecca Cross 202.333.7970 

cross  mackenzie  gallery
2026 R st nw washington dc 20009


Popular posts from this blog

As Seen on ARTEIDOLIA: Peter Pincus's Finesse

Peter Pincus’s FinesseLyn Horton
January 2019

Artists live in a tight world of history and influence. The medium an artist uses often points to possible penchants for attractive pods of that network. How an artist assimilates those areas of interest is complicated and eventually translates into what the artist ends up doing in both apparent and undetectable ways.
Peter Pincus is a contemporary ceramic artist. He has in his own practice evolved a means to unite history and influence to create his signature vision. Although he speaks of ceramics as being “too material specific to be classified as fine art,” he has produced an array of objects that walk a fine line of defying that statement.
As a teacher, husband and father, he and his wife have bonded to establish a vibrant working environment. Their studio is organized and stocked plentifully with materials exemplified by shelf after shelf after shelf of color-infused liquid slip clay. Twenty hours of studio time per week unfolds not o…

The Dance

Learning new image languages Is the same as inventing new words. How do we know their derivations? We view them in the context of history. Does the history matter? When the ‘present time’ is so trendy? History looms large in consciousness. Yet what happens right in front of our eyes Can be held in disbelief and ignored Or understood through study. To study can be instinctual. Rather than built into the rapidity of button pushing. The digital age has always existed. Instruments implementing the parts are different yet correlated. So why can’t we study and understand? As opposed to scan, send and share?
We can tap the larger, denser, more information picture. We can learn about derivations and history. The potential of discovery underneath the keyboard is vast. To take advantage of it is even admirable.
Sometimes taking things apart and putting them back together in unpredictable ways Allows for unexpected perceptions and learning. How could we forget? What did we learn in school? Di…

As Seen On ARTEIDOLIA: Swifts & Slows: Four Markers: Lyn Horton and Frand Ward