Page 81 - The MoMA/ Guggenheim issue of World of Art magazine (2003)
P. 81

Lynda mahan envisioned an art space that
          could exist in the same morbidly intoxicating
                world as her paintings and those she
           admires. With Dabora gallery, she has given
             this idea a life of its own. brooklyn locals
            and manhattan art enthusiasts alike find in
            Dabora not only a showcase of rich, quality
           work; they find themselves taking part in an
         exhilarating experience where lush, seductive
             surroundings of velvet curtains, victorian
             furniture, taxidermy and subtly menacing
            shadows create a living, breathing stage of
             intangible visual pleasures. Featuring solo
         shows and thematic exhibits drawing together
             artists from around the US and the world,
          the artwork at Dabora is complimented by an
         array of new york’s most out-there magicians,
           performers, and curiosity acts, whose oddly-
          timed appearances only add to the strangely
        alluring sense of disorientation that is Dabora’s
                                                                                              mORT & ST. a. TRaV
          trademark. Rounding out the days and nights
           of Dabora are the multifarious photo shoots                                        2000 acRyLic On canVaS
           and private events that take place within its                                      122 x 91,5 cm. / 48” x 36”
                       walls. if only they could talk.










         i have always been fascinated by portraiture,
         The face as an image to stare at as it stares
         back.  Since childhood, the one consistent
         obsession and theme in my work has been
         the rendering of the face. The spots first
         appeared in my paintings as beauty marks
         like the elaborate black dots used to adorn
         the French royal court of the 18th century,
         then they began to take over the portraits
         in chaotic patterns like a cancer of the skin.
         more recently i¹ve begun to experiment with
         the black spot and have become fascinated
         by the basic flat abstract and randomness of
         their appearance, incorporating their  flatness
         into the more shapely and painterly surface
         of my portraits.  The spot portraits are to me
         a study of surface and pattern, the mixing of
         classic technique and random abstract shape
         and how they react with one another.



                                 SPOT PORTR aiT ii
                                 acrylic on wooD
                             20 x 25,4 cM. / 8 x10 in.
                                          2002


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