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 Tomczak, 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. Whether past or present, perception is, at best, imprecise, colored by our experiences, knowledge (or lack thereof) and inclinations. My current work focuses on the “empty chair” as the starting point in an on-going dialogue about loss and memory and how we perceive the world around us.
I am intrigued by textural and linear qualities as well as the challenge of integrating positive and negative space. And so, I find particular inspiration in the early work of Henri Matisse, the drawings of Richard Artschwager, the drawings and installation pieces of Fred Sandbeck, as well as the highly textural 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 media, 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 unexpected, creating a dialogue between the artist and her muse.