Using paint on linen, birch, and paper, Linda Button explores the meaning of mannequins. By adding distortion to distortion, she walks the line between they becoming us, we becoming them. She lauds the beauty and the corruption of the human figure as represented by manufactured heads, torsos, and miscellaneous body parts, if not the entire figure.
Why mannequins? These many-splendored figures—these humanoids—are emblematic of who we are or might be. Buy me! Wear me! Become me! Button’s incandescent oils and mono-types (note especially the Saqsawamman Series) offer powerful redressing of these avatars.
Button reports that as a kid in the jungles of Venezuela while her father was drilling for oil, she had no opportunity to play dress up and attributes her interest in fashion (in part) to this lacuna. While in high school, she told her grandmother that she wanted to become an architect or a fashion illustrator.Much of her current work relishes the architecture of buildings, of fashion, as well as that of the arguably not-so-human body.
Read The Examiner’s review of the show.
Magda, Zsa Zsa, and Eva
oil on linen
18” x 24”
Of Thee I Sing oil on birch panel 20” x 16”
I Got Rhythm (right) oil on birch panel 16” x 20”