Linda A. Day
In 2004 I described the PULSE Series as a response “to the steady stream of visual and auditory in-put, of the technological filler, that permeates our culture.” PULSE was evidence of my interest in information – both visual and auditory – and in our bodies as receptors. As an information junky, I have often thrived in that cacophonic atmosphere of over-stimulation:
In my studio the radio plays against the ringing of the telephone, the jazz emitting from the room above mingles with the sound of the street traffic from beyond the front door. In this space a fusion is created between the human and technological and the beat of the human heart is tracked with the steady pulse of the apparatus. Surround sound. Saturated color extends across the screen. I am dreaming of Vista vision, Cinemascope. - May 2004
Beginning in 2007 I began to combine the greater precision of the early PULSE series with a more fractured application of paint, thereby implicating the body into the painterly field. These paintings suggest the corporal – the blood and bone - in a field of metaphoric flesh.
As the series has progressed the field has become increasingly translucent, the paint more voluptuous. In Between/Beyond atmospheric bands of color are overlapped and marked by rhythmic lines of saturated color.
I continue to work on these projects simultaneously. Through a manipulation of space and form and a determined figure/ground ambiguity, the PULSE series investigates alternately the technological landscape and the corporal body.