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About Lyndie

Baltimore City - Station North A&E District
Lyndie Vantine was born and raised in Buffalo, NY. In 1982 she moved to Philadelphia, PA, working for an art and archival center for five years before coming to Baltimore, MD. She has earned a Master of Liberal Arts from Johns Hopkins University, a Master of Fine Arts from Maryland Institute College of Art, and a BFA from the Philadelphia College of Art. She has exhibited throughout the Mid-Atlantic region, New Mexico, and Massachusetts for the past twenty-five years.

"Ever since I… more
View Lyndie's Resume
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Shape, Surface and Contour

The macro and micro forces of nature, overlapping, folding or clashing of energy  to overwelm and subsume.  There is sudden upheaval or glacier paced change in all of nature.  It is there is a that I seek to find space between the abstract and representational.
  • Levee.jpg
    Levee.jpg
  • Pollywog Hallow
    Pollywog Hallow
    Oil on canvas w/branches 24" x 31" overall Childhood summers on Lake Ontario, NY
  • Eddy-2-2016.JPG
    Eddy-2-2016.JPG
  • Morf.jpg
    Morf.jpg
  • Eventide.jpg
    Eventide.jpg
  • Strain 2016.jpg
    Strain 2016.jpg
  • Evening Paddle-web.jpg
    Evening Paddle-web.jpg
  • Heal.jpg
    Heal.jpg
  • Splint-2016 copy.jpg
    Splint-2016 copy.jpg
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    • Trees

    I regularly am aware of  the visual cadence of repetitive patterns in nature - vertical stands of trees crossing of horizontal ribbons of rolling fields, dark and light furrows of farm fields in late winter, or the criss-crossing squares of fields of colors containing different crops, creating either abstract patterns or reflecting the contours of the land.

    It is there is a that I seek to find again that space between the abstract and representational.
    • Dawn Patterns
      Dawn Patterns
      oil paint, masonite, wood and branches 54 x 12 x 3” overall
    • Sunset/Dusk
      Sunset/Dusk
      oil paint, masonite and branches 8 ½ " x 3 ½” overall
    • Winter Silence, 3/4 view
      Winter Silence, 3/4 view
      oil paint, masonite, wood and branches 21" x 5 7/8" x 2 5/8” overall
    • Patterns II
      Patterns II
      oil paint, masonite, wood and branches 12" x 9" x 2 5/8” overall
    • Yellow Woods
      Yellow Woods
      oil paint, masonite and branches 8 ½" x 7" x 2 ¾”
    • Yellow Trees
      Yellow Trees
      Oil on board and branches 23" x 6"
    • Blue Trees
      Blue Trees
      Oil on board and branches 21" x 6"
    • Autumn Rays
      Autumn Rays
      Oil/cold wax on board and branches 23" x 6"
    • Branch Pattern Study
      Branch Pattern Study
      Oil on board and branches 23" x 6"
    • Branch Pattern Study
      Branch Pattern Study
      Oil on board and branches 23" x 6"
    •

    • Little Landscapes

    Quick, small landscapes caught at various times of day, year, weather conditions.  
    Sizes:  either 6"x6" or 4" x 4"
    • Shoreline I (dusk) 2014.jpg
      Shoreline I (dusk) 2014.jpg
    • Shoreline II (sunset)2014.jpg
      Shoreline II (sunset)2014.jpg
    •

    • Southwest

    Numerous trips to the southwest (2010 -2015) have had a profound influence of the kinesthetic sense of self in relation to the open and expansive spaces. It was initially difficult to visually comprehend five miles across the Grand Canyon from rim to rim, easier to imagine the canyon's negative space as a solid mass fitted into the solidity of the rock basin.

    I also had the visual sensory experience of identifying smaller areas or fractions of whole vistas as complete compositions. I've worked on interpreting these "fractions" as more abstracted objects in my work.
    • Arroyo
      Arroyo
      oil on canvas and branches 11" x 10 1/4" x 2 3/8" overall On the road to Chaco Canyon, NM
    • Gila Forest I
      Gila Forest I
      oil paint, canvas, wood and branches 10" x 5" x 2" overall Mesa Verde ridgeline
    • Cascade
      Cascade
      oil paint, canvas, wood and branches 31 1/2" x 21" x 4" overall Broken furrows, husks
    • River Walk - Dusk
      River Walk - Dusk
      oil paint, canvas, wood and branches ~ 24" x 18" Virgin River and canyon wall, Zion National Park, Utah
    • Canyon Butte
      Canyon Butte
      oil paint, canvas, wood and branches 20 1/4" x 45 3/4" x 2" overall From within the Grand Canyon
    • Colorado River
      Colorado River
      oil paint, canvas, wood and branches 18" x 35" x 1" overall Occasional glimpses of the river from the canyon rim.
    •

    • Sculptures

    From time to time, I have taken my 2.5-dimension work to the third dimension.

    "The Sum of All Zeros" was a detour from my usual work. Immediately after 9/11, estimates of casualties at all three sites was over 10,000. Comprehending that number was difficult and painful. I took 4" twig clippings from debris in our woods and became tying them together, side by side, with linen thread. The twigs represented each individual for me - a simple object that I used and knew well. The linen thread represented shrouds, wrapping the souls of the individuals lost or missing. I wanted to know what 100 lives were, then 1,000. I worked on this project off and on for about a year. On the first anniversary of 9/11, a radio broadcast reported that revised numbers now stood at 2,052 casualties.. My twig tying effort was at about 1,900 twigs. I stopped at the 2,052 number. Subsequent revisions lowered the total casualty count, but I left the total the same as the first anniversary. I wrapped the long strip of twigs in a circle, a reminder of the "ground zero" term.
    • Life's Ladders
      Life's Ladders
      Wood, branches and fabric ribbon 48 1/2" tall
    • Unchopping a Tree
      Unchopping a Tree
      oil on canvas, cardboard tubes and branches ~ 19 1/2" x 9 1/2" overall
    • Acquiesce - detail
      Acquiesce - detail
      oil on canvas, cardboard tubes and branches ~15" x 6" overall
    • Acquiesce
      Acquiesce
      oil on canvas, cardboard tubes and branches ~15" x 6" overall
    • The Sum of All Zeros
      The Sum of All Zeros
      branches, linen thread 19" diam x 4" high From time to time, I have taken my 2.5-dimension work to the third dimension. "The Sum of All Zeros" is the exception. Immediately after 9/11, estimates of casualties at all three sites was over 10,000. Comprehending that number was difficult and painful. I took 4" twig clippings from debris in our woods and became tying them together, side by side, with linen thread. The twigs represented each individual for me - a simple object that I used and knew well. The linen thread represented shrouds, wrapping the souls of the individuals lost or missing. I wanted to know what 100 lives were, then 1,000. I worked on this project off and on for about a year. On the first anniversary of 9/11, a radio broadcast reported that revised numbers now stood at 2,052 casualties.. My twig tying effort was at about 1,900 twigs. I stopped at the 2,052 number. Subsequent revisions lowered the total casualty count, but I left the total the same as the first anniversary. I wrapped the long strip of twigs in a circle, a reminder of the "ground zero" term.
    • Unchopping a Tree - detail
      Unchopping a Tree - detail
      oil on canvas, cardboard tubes and branches ~ 19 1/2" x 9 1/2" overall
    • Hills and Dales
      Hills and Dales
      Oil on canvas and branches ~ 48" x 54" x 15" overall
    • A Love Supreme - back view
      A Love Supreme - back view
      oil on canvas with branches 96" tall
    • A Love Supreme
      A Love Supreme
      Oil on canvas with branches 96" tall
    •