Linnea Spransy’s paintings are generated through a combination of both structured and random events. She begins with a modular shape or line that is repeated over the surface of the canvas, bifurcating and changing direction according to a set of rules she establishes beforehand. She then introduces glitches into that system, to create surprising effects. In Supercollider, ribbon like bands unfurl and change direction as they encounter spilled paint. This process was repeated several times, resulting in a multi-layered composition that teeters between order and chaos. For Spransy, this method of creating a painting has much in common with the ways in which the natural world operates, from the growth of crystals to the collapse of galaxies. Her inspiration is drawn as much from the realms of physics, biomechanics, and architectural theory as it is from the history of abstract painting. By working from a predetermined process that is impacted by factors beyond her control, such as the paint spill, Spransy creates novel compositions that challenge and surprise us.

I am interested in limits, specifically, in their ability to generate surprise, even freedom. These limits need not be elaborate, or even obviously visible; in fact, it is often the most humble and self-evident limits, which, over time, build bizarre chandeliers of glimmering crystal, guide the catacomb construction of ant colonies, or shape the swoop of flocks and tidal currents with eerie similarity.

Other Works by Linnea Spransy

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Linnea Spransy, Abstraction, Technology, Abstract Expressionism, Digital Perspective, Futurism, Postmodernism, Painting, Acrylic, 2000s,