Linda Foley


a celebration of music in watercolors by Linda Foley

This book is a compilation of 37 music-related paintings and anecdotes collected in 40 years of attending music festivals, with some explanations of the watercolor process. It is available now for $20 at the Gallery Uptown.

"Shoreline Activity", watercolor, 11"x25"

“Shoreline Activity”, watercolor, 11″x25″

“Music is a joy, and a belief system. It can change the world and change your life. It crosses class lines and national borders. Folk music is an unbroken connection to generations past, a conversation between modern musicians, and a link to tomorrow’s generation, connecting all of us through the centuries.”

"Banish Misfortune", watercolor, 16"x20"

“Banish Misfortune”, watercolor, 16″x20″

Although I can’t remember a time that I didn’t draw, I came to painting late in life. In my first career, I spent 35 years building hammer dulcimers with my partner, Curt Sander as Lost Valley Dulcimers. Woodworking led me to Sculpture.

I carved free lance for Whitehall Products for 15 years. I carved from their design. They made a mold from my carving then cast it in aluminum.

"Climbing Clematis", watercolor, 26"x19"

“Climbing Clematis”, watercolor, 26″x19″

I found a book by Roland Roycraft. I yearned to work with color and his watercolors captured me. But watercolor was a challenge for me. Wood sculpture requires muscle. Hammer and chisel. But water moves without any help, even if I leave the room. It challenged my need to be in complete control. I walked away from watercolor and chose to work with fabric. At least there I could sew the color down. It couldn’t get away from me. My quilts were displayed at the National Quilt Show and the World Quilt Show.

When the  woodworking tools moved to a different shop, we had a big empty room and it became the painting studio. I went back to watercolors and took some lessons locally from Sal Harris. I learned from books, instructional DVDs, and by experimenting. I began to take watercolor seriously. I took week long workshops from Roland Roycraft, Joe Fettingus, Charles Reed, Liam Chen, Janet Rogers and Fred Graft.

"At the Beach", watercolor, 19"x26"

“At the Beach”, watercolor, 19″x26″

I paint every day. I paint for the pleasure of watching the water and pigment rush across the page. Dropping in the color and tipping the paper encourages the colors to mingle. A steeper angle increases the tempo of the flow. I try for a balance between excitement and control. I paint intuitively with intentional design. Accidental happenings are accented and improved.

"Cut by a Creek", watercolor, 16"x20"

“Cut by a Creek”, watercolor, 16″x20″

My landscapes are an improvisation of light and atmosphere using water and pigment. The woodlands and shoreline of my home are my inspiration.

The painting ” Roots in the Community” is part of a series that show trees above and below ground. The background was spontaneous and free flowing. The tree itself was built using a combination of intention and spontaneity. The roots show as abstract shapes. Lost edges make connections between the various forms.

"Lightheaded Tree", watercolor, 16"x20"

“Lightheaded Tree”, watercolor, 16″x20″

When I paint the big lake I often use a long format. It seems to suit the subject best. “South Shore II” shows my love affair with water in motion. It was painted very intuitively, wet-in-wet and with wild abandon. After the initial freedom I brought in darker values with more control and an eye always on the composition. This is one of my favorite subjects. I never tire of trying to catch wave action as it plays with the shore.

"Green and Gold Pulse", 19"x29"

“Green and Gold Pulse”, 19″x29″









"Soft Light", watercolor, 19"x26"

“Soft Light”, watercolor, 19″x26″