Lynda Davis Jeha
Release

acrylic, moulding paste, mica, on canvas
24″ x 12″

Lynda Davis Jeha Art
USA

photo credit:  Ashley M. Davis

Clara Lieu
Art Prof & Partner

I grew up in Central Massachusetts and was born into a family of engineers, botanists, and chemists who also explored their creative talents. I was especially inspired by my father, an engineer and painter. In college, I studied marine studies, but found myself divided between following my scientific and artistic interests. For many years, I had simultaneous careers as an environmental scientist, silversmith and jewelry designer. Currently, I am teaching children and adult classes through Wellesley College Botanic Gardens Program and am a member of the Wellesley Society of Artists. Though primarily self-taught, I have completed studio classes at several art colleges in the Boston area. My paintings have been exhibited in many shows and my works are held in numerous private collections around the United States, Canada, Australia and Austria. 

My adventurous spirit and love for travel around the globe provide inspiration for my paintings. A hallmark of my work is my fascination with color. Some of my paintings are carefully conceived, while others are more spontaneous, but the common thread to all of my work is a bold exploration of various color schemes and the ability to push color past traditional limits. I primarily work with acrylic paints and mediums. I love the versatility of this medium and enjoy creating mixed media pieces where I can explore not only color but texture, layering, and building up a surface. I am continuously looking for a challenge, trying new materials and techniques. I emerge myself into the process and just go for it to see where it leads me. For me, it is much more about the process than concentrating too heavily on the final outcome.

Related:  Pat Steir, Vija Celmins, Michael Mazur, Emil Nolde’s watercolors, Elaine Spatz Rabinowitz

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3 responses on "Lynda Davis Jeha"

  1. Profile photo of Lauryn Welch

    I’m really vibing off of your love of color and mediums, it’s really oozing off the canvas! Especially as a chromophile myself, I appreciate that I’m able to visually follow your process making these paintings. The layers are really visible, which is sometimes difficult to show with acrylic. Your work reminds me a lot of Lauren Olitski and Dianna Vosburg. That being said, I think I’m looking for a bit more intentionality or explanation in your visual decisions. Why are you working on such a small scale for such an enormously spacious subject? Why are you using 100% saturation across the whole piece? Why did you apply the moulding paste in the way that you did? When you love everything about paint and are really caught up in the joy of that alchemy (because your paintings are alchemy!), it’s easy to fall into magpie syndrome where you want to have a little bit of everything, especially the flashy things, but they don’t necessarily have a driving purpose in the painting. Personally, I think being a magpie is fine when you’re experimenting, and you just want to learn how stuff works, but I would also pay close attention to how you’re putting these visual and material effects together and why. When everything is a loud and awesome effect, all these visual moves you’ve made fight for attention and drown each other out. For instance, getting your mica to really sing might mean dulling the tone and saturation of some of the colors behind it, or brushing on a matte medium to create a contrast in luster. I think you have a lot of skills, versatility, and passion really going for you in these paintings, so when that organization comes into play, you’ll be golden!

  2. Profile photo of Alexander Rowe

    I just learned about a method of priming paper that I think you’d really get a lot of good results from! If you get some nice thick arches watercolor paper, (or bristol board – different results for each) and soak the page, then add drops of different colored waterproof ink onto the wet paper. once this is done, lay the paper between two boards and add weight…I mean, a lot of weight! The local Colorado artist who taught me this trick said he would sometimes drive his car over the board to really get some good pressure onto the paper. Anyway, when the process is done you have a phenomenal cosmic quality to the page, and that’s just the start! You can then work on top of this wonderful process, and add some more depth to the image! I can really imagine your work done on paper primed this way, and it would be a great way to add a great sense of depth.

  3. Profile photo of Casey Roonan

    I love how lush and vibrant these paintings are – I only wish I could see them in person! You’ve given us so much to sink our teeth into, between the rich colors and textures, the pieces of mica, the application of the paint and the way it all blends together….It’s clear you’ve done your due diligence experimenting with all of the materials you’ve mixed together, and that really pays off with a final product that feels cohesive but exciting. The only thing I can think to suggest is that you take this work to a larger scale next time; especially considering your cosmic inspiration, I want to see one of these pieces on a huge canvas!

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