This is a case study analysis. What artists among us doesn’t need or want a gallery champion? Artists invest their talent, time, and resources to produce amazing work. It builds in inventory, filling work and living space. It sometimes finds hanging space in public galleries, but for most artists, art accumulates.
Not that having a large inventory of work is a bad thing. Some artists just adopt the attitude from the outset that this art is mine and no one else is welcome to it. It isn’t that they are hostile or selfish, they just don’t want to be encumbered with the notion of packaging, marketing, and selling their work.
In today’s modern age, digital cataloging is a godsend. Yet, nothing is automatic and there are no silver bullets in the artworld. It is as much as one can make of it.
Case in point: Lina Alattar, painter wants a gallery host.
Tell me about your work. Show me something.
Lina says “Nonobjective painting allows me to make sense of my experiences.”
Well, all art is personal, don’t you think? Triggered by all that you are, you are sharing your experiences.
She says, “Relying on visual language, I work spontaneously and intuitively, seeking to convey a state of being that is beyond words and conventions. The lines and gestures in my paintings reflect this manner of working—unconfined and free.”
Some artists try to replicate the world they see, exactly. They can never do that because nature is too much competition. Therefore, the artist that seeks to break the rules and to express themselves freely in their unique manner will likely have accomplished something, if they have the skill to produce what they have in mind.
Lina works on canvas and wood.
She says, “Meaning comes from the process of doing the work.”
Of course, Lina, the outcome has more to do with the process than the objective.
At last she concludes: “It connects me to the spiritual, to the realm of no words. In this state, I am present to all that comes up. Then I can simply let go and return to doing the work from a centered place. There is a dance, a duality to this process, as I push and pull, am active and passive, relinquish and gain control, move and am still. Out of this duality I arrive at balance, stillness and unity in the present moment.”
It is necessary for artists to talk to themselves in an artists statement just to verify their own intentions. A gallery won’t respond to those words and neither will patrons. In fact, the statement is a baseline for developing Lina’s brand. Next.
Who is Lina Alattar?
She is educated in a southern school. Interesting is that many local artists share these roots in art education. The George Washington University is an exclamation point.
“Lina Alattar received her BFA from Middle Tennessee State University. With an emphasia in Painting and Graphic Design, Lina continued her painting education at The George Washington University. Her work shifted back and forth between the corporate and the Fine Arts.
Shortly after college, she headed to Gubio, Italy for an Art Study Program, where her personal experiences gave her a unique perspective that made an impact on the broader world she lives in.
When she returned to the States, She worked as a Creative Art Director. Her experience in the graphic industry includes advertising, packaging, illustration and website design, which earned her numerous AAF Addy awards for major campaigns, as well as freelance work for the National Gallery of Art in Washington, DC.
Lina has been working as a professional artist for over 15 years. Her work can be seen in regional galleries throughout the Washington, DC area. She lives and works in in Fairfax, Virginia. Her work can also be seen in medical office buildings including Mary Washington Healthcare, Virginia Hospital Center, private practice and private residence.
You can see her work by visiting www.LinaAlattar.com.”
It is when you see her work that Lina Alattar pops as an artist, and becomes someone to be reckoned with. Her work is a discovery, and local galleries and interior designers and architects would do well to give to her attention while she is still “available”.
Review: Lina Alattar, paintings
Her paintings are fine quality abstract acrylics on canvas and wood.
See the list of paintings.
1. “Reckless Dreams”, Acrylic on canvas, 36x24”
“Dreamy” appears to be a state of light and darkness with a glimmer of excitement and emerging ideas. It is an abstraction from the dream state.
2. "Ripples in the Air", Acrylic on wood, 23x11"
“Ripples” are literally there but the composition is much more, with a flash of sunshine and a drop of ideas that may have created the ripple.
Note: I wouldn’t make so much of the name, as just appreciate the painting.
3. "Soft Landings", Acrylic on canvas, 24x24"
You can feel the soft touch and the bubbles too. The “landing” may have to do with the balance at the bottom of the painting. It is interesting that the artist decided to make this a square painting.
4. "Fluttering My Way Through", Acrylic on wood, 23x11"
“Fluttering” is the artist’s spirit that is akin to being free. Is she standing on her head? Is she being topsy turvy? This painting is elongated.
5. "Fluttering My Way Through II", Acrylic on wood, 23x11"
The second “Fluttering” may provide more insight. Now, she is prone. You see, all of that interpretation is just personal. It is what you want to make of it.
6. "Blueberry Fields", Acrylic on wood, 48x11"
If you want those little blue dots to be berries, that is OK with me. Yet, this painting connotes sophistication in design and tone.
Architects and interior designers can have a field day with this work.