By Victoria Dalkey, The Sacramento Bee art correspondent
"Car" is a triptych in which an indistinct vehicle emerges on the left as an expanse of gray ocean stretches out
to the right. "Crowd" features seven panels joined in a horizontal format with faint figurers emerging from a
landscape that resembles a Japanese screen. In "No Crowd" tow lone figures, one running, one with his back turned,
are placed in front of a beach an an immense ocean.
David Linger's subdued and haunting images use an unconventional techinque on a precious material. These underglaze screen prints
with intaglio etcing on procelain are quiet and mediative works that include submerged texts that give
the porcelain a delicate texture.
|Figures walk on a beach in this
untitled work by David Linger.
In another format, large rectangles made up of three rows each of three panesl, shadowy figures emerge behind what
might be a rainy window. Ironically titled "Pinky" and "Blue Boy," they are blurry doppelgangers for Thomas
Gainsborough's fancy boy and Thomas Lawrence's equally famous girl. Yet they are quire elegant in a contemporary way,
as are of Linger's fine works.
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