testimonials

"Lynette Kay’s abstract and semi-abstract compositions convey her personal experiences of the world around her in a thoughtful and imaginative way. Whether she is using a piece of music as her starting point or creating an image of her encountered landscapes or figures, she evokes her chosen subject with bold colour and lines. Her varied palette is not overpowering, however, and delicate details can be found amongst the sharp brushstrokes. Kay’s strongest artistic skill lies in wilfully mixing her media across a canvas to desired effect, creating dramatic canvasses that impact the viewer but only give away half their story. The viewer is presented with an interesting visual stimulant and left to imagine the origins of the composition. Talk to Kay about her works and she will happily reveal their hidden depths."

Sophie Egleton
03 Gallery Manager

"Through her large canvases, Lynette Kay shares an experience with the viewer, such as the vivid multi-tonal layers of ‘Walking into the Red Sea’. Similarly ‘A Night in Tunisia’ is painted dark tropical green to convey dense humidity and mysteriously exotic flora. The Artist has a fertile imagination and ‘Seascape’ is boldly painted in shades of frothy creamy white with a hint of egg batter yellow. ‘Dylan’s Music’ is vigorous, vibrant and jumping with the colours of lilac, turquoise and amber for a portrait that best describes the exhibition title of Earth Soul Music. Smaller pieces such as ‘Autumn Equinox’ use ink on paper to tell the story of orange burnished trees melting into a fiery sky with shapes outlined in black pen. Vertical lines form smooth strips of oil paint to portray the yellow to orange range of ‘Autumn Fields’. Blocks of textured oil paint fill out a wide landscape in ‘Squall’ as white and red dots lead to a distant shimmering green. Kay’s interesting technique becomes representational in ‘Lichen on Rocks’. The scratchy, corny, powdery texture of amorphous lichen is built up in the layers of paint applied to the surface. The Artist’s unique style of building up both texture and colour in both oil and acrylic media is seen in ‘The Dancing Goat’ where the shimmering goat skin is captured through ivory white, pale blue, grey and a dirty looking yellow. It is almost as the black, brown and beige craggy cliff face has been built through Kay’s palette knife in ‘Rocks at Pembroke’."

Lita Doolan, 14/03/08