We are thrilled to add Connecticut-based artist Linda Colletta to the Sugarlift roster! This week we chatted with her about the moment she realized she was destined to be an artist and the intimate nature of her work.
Lives & Works In: Bridgeport, CT
On the Clock (daily routine): Coffee and Instagram, emails and studio stuff like shipping, submissions, and commissions, and then finally paint!
Your Art Weekend: Pretty much in my studio painting as much as possible on the weekends when it’s quiet and I can blatantly ignore my phone and emails.
Album: Currently: Portugal. The Man on repeat.
Film: Fight Club.
Book: Ugh... don’t read much (I know!). Just puts me to sleep.
Eats: I eat really clean, have to. I’m allergic to sugar, starch and grains -- so I am truly a meat and vegetables girl! And my favorite is deep fried Brussels sprouts at The Smith, NYC.
Latest Purchase: A case of Lukas Cryl Studio in titanium white!
Guilty Pleasure: Grey’s Anatomy.
Grade in art class: A+.
36 hours: Leisurely sit with my coffee and not rush to go do anything for like at least the first two hours. Then I’d sift through art books and design mags for a few more hours to get my creative juices flowing, paint all day and night, crash at my studio and have my hubs bring me dinner, and then get his feedback on the work. Sorry, I’m boring, but all I want to do is paint so this is a dream 36 hours for me.
There are a number of geometric patterns that are recurring throughout your work. What is the inspiration behind those?
These pieces are a visual reminder to LET GO. Using color as my muse, I explore textures, patterns, and layers mimicked both in nature and urban decay in a variety of mediums (acrylics, oil sticks, pastels, graphite and ink). I am interested in the alchemy of layering, where two unrelated ideas -- when connected -- become something else entirely, and likewise when pieces are removed and new story is revealed. In this fast-paced split-second world, I am interested in slowing you down and drawing you in. I'm compelling you to look closer and linger longer to find some perspective in the smaller pieces that make up the bigger picture, and some peace in the quieter moments of the work. I am endlessly fascinated by places where man and nature meet, like a telephone line across a skyline at dusk, a tiny patch of grass in the middle of a cement jungle, or a fence making the end of a rolling field. The line against the form is not only a source of beautiful abstraction but also speaks to our futile attempts as humans to contain or control this wild world. It makes me giggle every time. And it reminds me to just let go.
You've been an artist for over 20 years. At what point did you realize that this is what you wanted to do?
Probably at about 4 or 5 years old. I got into my dad's tools in the garage one day and I spent several hours creating a wall sculpture with hundreds of his nails, washers, and bolts. I was thrilled with my creation. My dad was not so thrilled with all the holes in the wall, but I knew I was an artist in that moment.