Jennifer Lynch

Catalog

Abstract geometric artwork featuring irregular polygons in various bright hues, reminiscent of a vibrant Palm Springs sunset. The shapes intersect and overlap to create a mosaic-like effect, with darker shades on the outer edges gradually transitioning to lighter tones at the center.
Abstract painting featuring a dynamic, fragmented spectrum of colors in various shades of blue, yellow, orange, red, and gray. The colors intersect brilliantly, creating a sense of motion that converges toward the center. Reminiscent of Palm Springs vibrancy, with a darker background and vivid tones in the foreground.
An abstract image with swirling colors that fade and blend together. Hues of blue, red, orange, and white create a dynamic, misty, and ethereal effect, resembling cosmic or celestial elements in motion. The vibrant energy evokes the intersecting beauty of Palm Springs' desert skies.
An abstract painting featuring a blend of dark blues, blacks, and purples with hints of red and yellow. Soft, hazy shapes and gradients create a dreamlike, surreal atmosphere with overlapping colors and forms.
An abstract painting features curved intersecting lines against a multicolored background. The hues progress from warm tones of orange and brown at the bottom to cool tones of blue and green at the top, creating a gradient effect.
Abstract image featuring a central dark circle surrounded by multiple concentric rings in varying shades of yellow, purple, and orange. The surrounding area transitions from dark to light hues, creating a gradient effect. The texture appears grainy.
Abstract artwork featuring various blended colors. The center displays a mix of soft pastel shades including pink, yellow, orange, and green. Darker hues of black, purple, and green frame the left and right edges, creating a gradient effect reminiscent of a Palm Springs sunset intersecting with twilight shadows.
Abstract digital artwork featuring overlapping geometric shapes in shades of pink, green, brown, and orange. The composition creates a sense of depth and movement through soft gradients and textured shading.
A dreamy abstract painting featuring layers of blended colors including purple, blue, orange, and red. The soft gradients and speckled texture evoke a serene, ethereal landscape, suggesting undulating hills or formations under a twilight sky.
A vibrant abstract image featuring a purple pentagon at the center, surrounded by concentric circles in varying shades of red, orange, and yellow, creating a gradient effect. The overall impression is of a glowing, radiating pattern.
Two abstract art pieces depict curved shapes with vibrant colors. The left piece features red, orange, and yellow hues forming intersecting arcs. The right piece shows blue, purple, and yellow shapes with a central red vertical line.
A split canvas artwork features bold, abstract shapes reminiscent of the vibrant energy of Palm Springs. The left side has a large yellow semicircle, a green triangle, a red oval, and a dark blue background. The right side predominantly shows a red oval shape intersecting on a blue background with a hint of purple in the bottom corner.
Two abstract art pieces, titled "Intersect Palm Springs," are displayed side by side, each composed of vibrant, overlapping curved shapes in shades of red, yellow, green, purple, and blue. The designs feature smooth gradients and a dynamic sense of movement, creating a visually stimulating composition.
An abstract image featuring an intricate, mesh-like pattern of interconnected lines. The color gradient transitions from bright yellow on the left to deep purple on the right, with shades of brown and grey in the middle.
An abstract image featuring a mosaic-like pattern of irregular, interlocking shapes. The colors transition smoothly from deep red on the left to vibrant orange and yellow on the right, evoking the dynamic energy of Palm Springs. Perfect for luxury events where visual appeal is paramount.
A geometric pattern featuring a mosaic of irregularly shaped polygons in various shades of yellow transitioning to a deep orange towards the bottom. The lines between the shapes are thin and dark, creating a web-like appearance over the gradient background.
Abstract artwork by Jennifer Lynch featuring a gradient from yellow at the top to dark blue at the bottom, overlaid with an intricate pattern of interconnected, irregular, polygonal shapes in orange, resembling cracked earth or cellular structures.
An abstract artwork by Jennifer Lynch featuring numerous intersecting lines in various angles, creating a web-like pattern. The lines are in shades of brown, red, and grey, set against a gradient background transitioning from dark green at the top to beige at the bottom.

Jennifer Lynch

Born: 1961, Buffalo, NY

Biography and Information

Biography
Jennifer Lynch’s (b. 1961) otherworldly compositions examine both the macrocosm and the microcosm. Her paintings are inspired by networks found in nature, from the nervous system to crystalline structures. She paints like a printmaker using stencils, masks and rollers and uses printmaking inks as the medium. The booth presentation includes a survey of works from different series spanning 22 years. The title of her paintings are names of asteroids and Latin names of wildflowers.

New bodies of work come out of Lynch’s experimental process. The artist works in a non linear continuum spanning 30 years and every piece is informed by previous bodies of work. Drawings on mylar are fractured and turned into photopolymer etching plates which are printed as variations. The matrix from the prints are translated onto large panels which are reworked. Lynch’s large diffused paintings are made by splattering printers inks onto canvases while using stencils to interfere and build composition. By using proprietary interference inks, Lynch’s diffused paintings appear to be lit from within. The overspray from making the large canvas works is the foundation of her smaller panels.

Jennifer Lynch is an artist, printmaker, and educator based in Santa Fe, NM. Highly versed in various mediums of printmaking, including etching, lithography, woodcut, and monotype, her own work specializes in photopolymer viscosity etching. Recent exhibitions include a group exhibition at the Albuquerque Museum in 2022 and a solo exhibition at the Taos Art Museum in 2019.

In 1999, the artist launched Lynch Pin Press. Lynch’s master printmaking work was featured in the Printers Proof exhibition at the Albuquerque Museum and included  collaborations with Larry Bell, Ron Cooper, Ron Davis, Guy Dill, Charles Christopher Hill, Ken Price, and Charles Strong.

The minuscule, microscopic and the macroscopic dynamics of natural forces drive me… Color and pattern are my metaphors for natural rhythms and nature’s underlying mysteries.  – Jennifer Lynch

Education
2014
ISA, AM/designation, International Society of Appraisers

1989–1992
MFA Painting/Printmaking, Hunter College, New York, NY

1981–1983
BFA Printmaking/Photography, Kansas City Art Institute, Kansas City, MO

1979–1981
Concentration Studio Research, College of Visual and Performing Arts, Syracuse University, Syracuse, NY

Solo Exhibitions
2023
Jennifer Lynch, Richard Levy Gallery, Albuquerque, NM

2019
COSMIC LANDSCAPE, Taos Art Museum, Taos, NM

2013
New Painting, DAFA, Taos, NM
Lithos, Artifact, New York, NY

2011
Crystals, Gallery Neuartig, San Pedro, CA

2006
Jennifer Lynch: New Work, Fenix Gallery, Taos, NM

2004
Jennifer Lynch: Fractal Series and New Work, University of New Mexico–Gallup, Gallup, NM

2002
Jennifer Lynch: Fractal Series, ILK Gallery, Denver, CO
Jennifer Lynch: Fractal Series, Fenix Gallery, Taos, NM

1992
Jennifer Lynch: M.F.A. Thesis Exhibition, Vorhees Gallery, Hunter College, New York, NY

Group Exhibitions
2018
Nature: Human Nature, Loft at Liz’s, Hollywood, CA
Work by WOMEN: Nature Altered, Harwood Museum of Art, Taos, NM
Santa Fe Community College Faculty show, New Mexico State Capitol, Roundhouse, Santa Fe, NM

2017
528.0 Juried Printmaking Exhibition, Center for Visual Art, Metropolitan State University, Denver, CO

2015
Pressing Through Time, 150 Years of Printmaking in Taos, Encore Gallery Taos Community Auditorium, Taos, NM
Pressing Through Time, 150 Years of Printmaking in Taos, 203 Fine Art, Taos, NM
Thirty year Retrospective, Graphic Impressions, Taos, NM

2014
New Art / New Mexico, Ross Museum of Art, Ohio Wesleyan University, Delaware, OH
Print Austin, Art Science Gallery, Austin, TX

2013
4 Sight: 4 Walls/ 3 Curators, Encore Gallery Community Auditorium, Taos, NM
Perception|Color|Line|Pattern, Arvada Center for the Arts and Humanities, Denver (Arvada), CO
560 Exhibit, Redline For The Invisible Museum, Denver, CO
Group Show, Artifact, New York City, NY

2012
Taos Contemporary, Metropolitan State College Center For Visual Art, Denver, CO
Pressing The Limits III, Golden West College Gallery Of Fine Arts, Huntington Beach, CA

2011
The Print, (Artspace) at Untitled, Oklahoma City, OK

2009
Pressing The Limits, Arvada Center for the Arts and Humanities, Arvada, CO

2008
Pressing The Limits, Contemporary Arts Center, Las Vegas, NV
Open Gallery, Logan Fine Arts, Houston, TX
Holiday Show, Logan Fine Arts, Houston, TX

2007
Biennale Internazionale Dell’arte Contemporanea, Florence, Italy

2006
Green: Inaugural Exhibition, 23 New Mexican Artists, 516 Arts, Albuquerque, NM

2003
Solarplate Revolution, BCB Gallery, Hudson, NY
Solarplate Revolution, Whitney Art Works, Greenport, NY
Print As Art: All Gallery Show, Fenix Gallery, Taos, NM
New Mexico Printmakers, Santa Fe Art Institute, Santa Fe, NM
University Of New Mexico Faculty Show, Stables Art Gallery, Taos, NM
6 Degrees Print Exchange, Tucson Museum of Art Collection, University of Arizona, Tucson, AZ

2002
Jennifer Lynch, Lois Tarlow: Recent Prints, Harwood Museum of Art, Taos, NM
Taos Art Today: Northern New Mexico Printmakers, Foothills Art Center, Golden, CO
Two Towns, Plaza Gallery, Vail, CO
Monothon 16, Site Santa Fe, Santa Fe, NM

2001
Friends of Contemporary Art, Whelan Gallery, Santa Fe, NM

1999
Works On Paper, Taos Art Association, Stables Gallery, Taos, NM
Grace Under Pressure: Three Printmakers, Fenix Gallery, Taos, NM
UNM Marches on the TAA, Stables Gallery, Taos, NM
Monothon 13, Site Santa Fe, Santa Fe, NM

1997
Art Santa Fe, Hotel Santa Fe, Santa Fe, NM
The Tree Show/Arms of the Earth, Center For Contemporary Arts, Santa Fe, NM
Faculty Art Show, The College of Santa Fe, Santa Fe, NM
Artists/Printers Tribute To Monothon, Site Santa Fe, Santa Fe, NM
Taos Fall Arts Festival, Civic Plaza Gallery, Taos, NM
Monothon 11, Site Santa Fe, Santa Fe, NM

1996
Artist/Teachers Annual Faculty Show, The College of Santa Fe, Santa Fe, NM
Monothon 10, Site Santa Fe, Santa Fe, NM

1993
Monothon ’95, The College of Santa Fe, Santa Fe, NM
Representation, Lumina Fine Art and Photography, Taos, NM
Taos Fall Arts Festival, Civic Plaza Gallery, Taos, NM
Group Show, Taos Photographic Workshop, Taos, NM

1992
Catherine Lorillard Wolf Ninety-Sixth Annual Open Exhibition, National Arts Club, New York, NY 

Collections
Albuquerque Museum
Alyce and Larry Frank
Charles Christopher Hill
Gus Foster
Harwood Museum of Art
Larry Bell
Mark and Polly Addison

Press

Kathleen Roberts, Artist Jennifer Lynch creates an alchemy between the familiar and abstract, Albuquerque Journal, July 9, 2023
Jennifer Lynch Arist Talk, You Tube
Santa Fe Reporter, Museums Calendar, February 14, 2018. Page 35.
Albuquerque Journal, Women’s Work, by Kathaleen Roberts. March 4, 2018 B1.
TREND, Art + Design + Architecture +Cuisine, “ Press Here – A Polestar of Printmaking Celebrates its Artists” by Stephanie Hainsfurther. Fall 2015, p. 45.
The Gus Foster Collection, The Artist as Collector, Harwood Museum of Art, cataloge 2014, p. 65.
TREND, Art + Design + Architecture, “ Rolling the Stones, the Art of the Print. Tamarinds enduring influence on five regional printmakers” By Kathryn Davis, photos Peter Ogalvie. Summer 2012, p.70.
Larry Bell, Carre’ d’Art-Musee d’Art contemorain de Nimes, retrospective France 2011. Pg.1,7,10,11
Impressions: The Journal of the American Print Alliance, Page 29.
Pressing The Limits, Four Contemporary American Printmakers, Michael Costello, Jennifer lynch, Willis F. Lee, Mitchell Marti, Catalog. 2009
New Mexico Magazine, “Pressing the Issue” by Johnny D. Boggs, April 2009, p. 19.
Santa Fe New Mexican, Pasatiempo, “Larry Bell on His Continuing Investigations,” March 20–26, 2009, cover photo, pp. 28, 30.
Las Vegas Weekly, “From Santa Fe, with Love” by S usanne Forestieri, December 2008, cover.
Biennale Internazionale Dell’Arte Contemporanea, Catalogue, Florence, Italy: Ministero dei Beni Culturali Regione Toscana, 2007.
Art and Living, “ Interview: Ed Moses and Larry Bell” by Eric Larson, Fall 2007, photo p. 62.
One Hundred Artists of the Southwest by Douglas Bullis, Atglen, PA: Schiffer Publishing, 2006, pp. 110–111.
Albuquerque Tribune, “ State of the Art: 23 Extraordinary New Mexicans Showcase Modern Art’s Roots and Future,” December 8, 2006, p. C3.
THE Magazine: Santa Fe’s Monthly Magazine of the Arts, “Jennifer Lynch: New Work” by Anthony Hassett, July 2006, p. 67.
Horsefly: The Alternative News Source for Taos, “The Pulse” by Dory Hulburt, June 15, 2006, p. 15.
Taos News, Tempo Magazine, “World According to Jennifer Lynch” by Virginia Clark, June 1, 2006, p. 20.
Modern Painters, Bernard Jacobson Gallery, advertisement photo, June 2007, inside cover.
Art and Auction, June 2007, photo p. 56.
Art in America, June–July 2005, photo p. 15.
The Independent, “ Innovative Prints Inaugurate BCB,” August 8, 2003.
Dan’s Papers, “ Exodus” by Susan Whitney Simm, May 23, 2003.
New York Times, “Art Reviews” by Helen A. Harrison, May 11, 2003, p. 16.
The Santa Fean: Annual Art Issue, “Gallery Review,” June 2003, p. 68.
THE Magazine: Santa Fe’s Monthly Magazine of the Arts, June 2003, p. 34.
Taos News, Tempo Magazine, ” The Print as Art” by Virginia Clark, May 29, 2003, p. 12.
Westword, “Artbeat” by Michael Paglia, December 19, 2002, p. 66.
Rocky Mountain News, “Critic’s Choice” by Mary Voelz Chandler, December 2002, p. 2D.
Denver Post, “Critic’s Choice” by Kyle MacMillan, November 17, 2002.
Horsefly: The Alternative News Source for Taos, “Art Briefs,” September 15, 2002, p. 21.
Denver Post, ” Taos Art Today Vibrant” by Kyle MacMillan, August 18, 2002, p. 9F.
Westword, “ Western Civilization” by Michael Paglia, August 8–14, 2002, p. 67.
Golden Transcript, “ Taos Exhibit Under Way,” July 31, 2002.
Denver Post, “Critic’s Choice” by Kyle MacMillan, July 28, 2002.
Rocky Mountain News, “ Thin Thread Ties Taos Works” by Mary Voelz Chandler, July 26, 2002, p. 23D.
Sentinel & Transcript Newspapers, “Taos Comes Alive” by Sabrina Henderson, July 2002, cover.
Taos News, Tempo Magazine, “ Keeping Focused” by Betsy Carey, March 28, 2002, p. 8.
THE magazine: Santa Fe’s Monthly Magazine of the Arts, “Monothon 11” by Richard Tobin, August 2001, p. 31.
Printmaking in the Sun: An Artist’s Guide to Making Professional-Quality Prints Using the Solarplate Method by Dan Welden and Pauline Muir, New York: Watson-Guptill Publications, 2001, p. 111.
Taos News, Tempo Magazine, “ A Rush of Creativity” by Peter Gould, March 2, 2000, p. 3.
Taos News, Tempo Magazine, “ Lasting Impression” by Sara Ford, July 15, 1999, cover.
Watercolor Magazine, ” An Update on Water- Based Printmaking” by Julia Ayres, Fall 1998, p. 118.
Making Monotypes with Createx Monotype Colors by Gail Ayers, Granby, CT: Createx Company, 1998.
THE magazine: Santa Fe’s Monthly Magazine of the Arts, ” Natural Philosophy, Epistemic Art” by Richard Tobin, July 1997, p. 59.

Press Release
2024 Richard Levy Gallery at Atlanta Art Fair
2023 Jennifer Lynch • Spectra at Richard Levy Gallery
2023 Richard Levy Gallery at Intersect Palm Springs