Painter Discovers the Fulfillment in Nonobjective Work -- By Scott Campbell

Posted @ Nov. 01 2011 07:02AM by Timmy - in-print

“I have always loved art,” says Linda Benton McCloskey. “In high school, I announced to my art teacher that I intended to pursue a career in it. She told me that I didn’t have the talent. And, back then, students always believed what they were told. So, I changed my plans. But, the desire never left me.” Perhaps the fact that Thomas Hart Benton was her great uncle contributed to that innate aspiration.

About 12 years ago, McCloskey started basic watercolor lessons, and the spark was ignited. “Thinking about my art soon became a distraction at work,” she recalls, “and, with my husband’s encouragement, I took early retirement in order to be a full-time painter.”

Before long, the Swatara Township resident became “bored” with realist watercolors. “I went to acrylics, and then oils,” she says. “But, the creative juices just weren’t flowing. Then I took a class in collage at the Lancaster Art Association, and that slingshot me into abstraction, opening a whole new avenue of expression.”

McCloskey’s progress as a nonobjective painter was rapid. In short order, she was teaching at the Art Association of Harrisburg. The 68-year-old woman now conducts classes at her home, at the Mechanicsburg Art Center School and Galleries and York Art Association. She also teaches encaustics workshops up and down the East Coast. “I love to teach,” she says. “It’s very important to me.”

Up early in the morning, McCloskey spends six to seven hours per day on her work. “I slow down around mid afternoon, and then attend to the business side of my profession, which consumes more time than might be expected.” she says. “I also do a lot of volunteer work with the Pennsylvania Watercolor Society. I believe in giving back.”

“I paint in many different ways,” says McCloskey, “and don’t have a preconceived plan when beginning a piece. I generally choose the palette first, and then lay down the colors. Afterward, lines are added with a brush, brayer, squeegee or other tools. Shapes begin to emerge, and I go from there. The painting itself gives me direction as it develops.”

Her efforts are a blend of geometric and organic shapes. “Almost everything has circles now,” she says. “It’s part of my style that just happened.” The goal is to evoke emotion through composition and choice of colors. “I’m not trying to send a specific message.”

The artist’s basement studio houses all of the necessary equipment, materials and tools. Shelves display assorted mediums that are employed to varying degrees in her work. The inventory includes acrylics, colored gesso, inks, oil and soft pastels, watercolors and watercolor pencils.

McCloskey paints on stretched canvas, 3-ply Bristol board and Yupo paper – a polypropylene-based product. She mounts the canvas or paper on a wall and stands at arm’s length while working, allowing her to better assess a painting’s development.

“Nonobjective work is starting to sell now,” she says. “The market is there…it’s on the rise in this area. Last year, I almost sold out at ArtsFest, and three were purchased at the Lititz show.” McCloskey also won best of show at the 2010 Yorkfest competition, just one of the more than 50 national and international awards that she has garnered since 2003.

Because there is seldom a visual reference from which to work, nonobjective art requires imagination. This is not easy, a fact frequently lost on the general public. “At this year’s ArtsFest,” smiles McCloskey, “I overheard one visitor at my display whispering to another, ‘she paints that way because she can’t paint realistically.’”

Learn more about the artist at lindabentonmccloskey.com.