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More works at The Foster Gallery, Worcester, Ma - http://www.thefostergallery.com/Ldigustaweb/ldigusta.html
Linda DiGusta is a NYC artist and writer. She has been invited to participate in December's group exhibition 'winter Salon' at Bjorn Ressle Art Projects in NYC. In September her work was included in 3 group exhibitions: 'Slow News International' in Honolulu, HI; 'A Book About Death' at the Emily Harvey Foundation in SoHo (collab. w/Mark Wiener); and 'Black Madonna' at NYC's HP Garcia Gallery. 2008 - 2009 group shows include: 'Works on Paper' at the Foster Gallery in Worcester, MA; 'Appetizing Pictures: Unusual Still Lifes of Food and Kitchen Objects' - Hudson Guild (James Furlong, curator); 'Farewell Shoes for Mr. Bush' (collab. w/Mark Wiener) at DECORAZONgallery in Dallas,TX; 'WinterSalon: Works on Paper' at Bjorn Ressle Gallery; FilmArtFunction at Galapagos in DUMBO; 'Walk-In's Welcome' presented by Curcio Projects at Umbrella Arts NYC; Red Dot Art Fair NY with Art Gotham and the 'Ides of March' bi-annual exhibition at ABC No Rio on the Lower East Side by invitation of the collective, Broadthinking.
In November 2007, two of her works on paper were included in 'Lineal Investigations,' a group exhibition at the Housatonic Museum of Art, curated by Robbin Zella, and are now in the collection of the Museum. Additionally her work was featured in the spring issue of Irreversible Magazine. Her fiction has been published in print an online, at the intersection of fine art and literature, she co-edits (with Mark Wiener) the art magazine Resolve40.com.
Studio 551 West 21st Chelsea, NYC
I am in my high school biology lab, assigned to look at a simple plant under the microscope and sketch it's cells, which are supposed to look just like a row of stacked boxes.
Easy, only the problem is, one of my boxes is filled with something that looks exactly like an ancient Egyptian artist's rendering of a human eye. After giving some serious consideration to the concept of sketching the photo from the textbook and copping an automatic 'A,' I decide I must be true to what I see and hand the appalled teacher an apparently ridiculous drawing. When she stalks over and takes a look in my microscope, all she can do is shake her head and say. 'This could only happen to YOU.'
Art is seeing. For me, drawing is about seeing something in a subject and choosing to find it again in my work. It matter not that I see a literal image of the object that inspired me in my final product, I need to see the chosen aspect that made me decide to draw. It's much like the choices I make as a writer, when I decide that a particular moment in the paramount reality in which I live, or a single spark of my imaginings, is to become the seed or an element of a story.
Seeing is art. Someone looks at my work as sees something in it that is not expected, that I perhaps did not consciously manifest, their thinking takes a new path, and the process of making that creative choice begins again.