Thomas Jefferson described the Falling Spring Falls as a "remarkable cascade...falling over a rock about 200 feet to the valley below." One of the largest falls in Virginia, it cascades from an overhanging ledge, and is easily visible from the roadway. It is just a few miles pout side of Covington in the Alleghany Highlands.
Linda Hollett-Bazouzi, Crossing Over the Mountains I, oil on linen, 8x10, $400.00
Linda Hollett-Bazouzi, Crossing Over the Mountains II, oil on canvas, 11x14, $500
Linda Hollett-Bazouzi, Crossing Over the Mountains III, oil on canvas, 11x14, $500
Linda Hollett-Bazouzi, Storm Over the Mountains, oil on canvas, 12x24, $650
Oil on Canvas
Oil on Canvas
If there is one concept that influences my work, it is the impermanence of our reality. Whether a field slated for development, changes in weather, or a view transcending conflict, I am driven to capture that moment. Sometimes it is the need to share an ordinary view that most have missed in their day-to-day existence; at other times it is a unique view that most are not privy to see. Either way, that view, that instant, will never exist again. For this reason, many of my works are created en plein air (in open air), as the sensory event is occurring.
I try to preserve those moments, not just as photographic representations, but as visual statements that share the sensory impressions of the location and time to the viewer. I become the channel that uses color, texture, and imagery to impart the feeling and message of one viewer—the artist—to another viewer--the patron.
My work is done alla prima—all at once. Whether outside or in the studio, once I’ve completed my thought process, I go at it until the painting is done. Some of my preliminary planning must go into how I will time my work, and my rests—where I will stop my painting for the day. Because of how I paint it is very difficult to go back and finish later. Touch up, yes; stop for a few days and come back, no. I use a paintknife almost exclusively, and that lays the paint onto the canvas very differently than a brush. It actually affects how the paint hardens. Once that process has begun, I can’t push and pull the paint around, scratch and scrub, build and obliterate. The texture of the knifework becomes too busy, too distractive.