Lynn Foskett was born in 1949, in south Florida. Raised and educated in the South, Mid-West and Northeast, Foskett received a strong background in the visual arts in junior college, with a focus in fashion illustration. After studying abroad, she assisted regionally acclaimed artist, Augusta Oelschig (known for her work in the distinctive Southern Gothic tradition) on a commissioned piece now displayed in the Savannah Chamber of Commerce. Foskett went on to complete her Bachelor of Fine Arts degree in painting from Northern Illinois University. Having explored both representational and abstract styles, her focus has turned steadily towards semi-abstract and non-objective imagery.
Upon returning to Florida, Foskett has been active in the arts community in the Tampa Bay Area. The artist continues to grow in her work through workshops led by established artists, including photographer Anna Tomczek, printmaker Linda Berghoff and oil and cold wax/mixed media artist, Elena De La Ville.
More often than not, I am taken aback by what I think I see or understand and the reality beneath it; perception is, at best, imprecise. My work reflects a continuing curiosity in exploring this dichotomy, particularly in regards to memory, interpreted best through a semi-abstract approach. Textural and linear qualities continually intrigue me, as does the relationship between positive and negative space. These elements and more contribute to an ongoing dialogue between the mark on the surface and the intent behind it.
There is much to learn from so many artists, past and present. At this time, I find particular inspiration in the early work of Henri Matisse, the drawings of Richard Artschwager, the sculpture of Fred Sandbeck, as well as the highly textural and installation work of many of today’s artists.
Picasso is quoted as saying that all “…art is a lie that leads us to the truth.” Ultimately, I consider a piece successful if it evokes the ambiguities explored and a sense of truth about the world within and without.
A Note on the Process: Foskett has used Yupo, a synthetic paper, as her substrate for many years. Recently, however, she has been exploring oil and cold wax medium, collage and other painting and drawing mediums, on cradled wood panel and shaped lauan. While more complicated pieces require greater planning, generally only one or two preliminary sketches are made as Foskett enjoys working with the surprises that occur within a work in progress. A mark, color or texture added inform the next one used, the original concept at times evolving into something different, becoming a dialogue between the artist and her muse.