About the Artist

Natural forms from trees within my neighborhood inspire my art. Holes in branches receive lathe-turned spheres; radiating patterns of burled-maple nestle into complementary geometric forms. Tree-wounds reveal shapes integral to the form; cuts are sewn-up with copper wire; worm patterns add texture and contrast to finely finished interiors. My goal is to have people stop in their track and say "wow, is that what is in a backyard tree, a tree that I walk by everyday?" My art invites the viewer to stop and enjoy the exuberant lines and shapes found in a tree's.

My abstract sculptures uncover the insides of a tree trunk or limb. Power tools such as band saws, lathes and sanders reveal undulating organic lines and forms. I turn a sphere as a counterpoint to nature's designs and construct a sculpture. The final combination of organic and carefully designed counterpoint elicits a moment of awe.

Age-old cherry, oak, maple, boxwood, and walnut are stored in my garage, under the house, in the shed and under plastic tarps. My basement studio is humble, but my creations are refined and magnificent. My abstract sculptures evoke universal and spiritual themes such as healing and faith. The final and juxtaposed geometric shapes highlight and honor the evocative and organic shape that nature has formed. Using only local materials, my sculptures are meant to connect viewers to particular communities.

Influences to my work originally came from my love of Henry Moore's abstract, earthy, enticing-to-touch sculptures. Asian art has influenced the meditative qualities and sacred approach to sculptures. Nature has been my solace to turn to for spiritual nourishment.

Biography

Lynda Smith-Bugge has exhibited in numerous area art shows including the Arts-in-Embassy Program, Washington Woodworkers Guild, Women's Caucus for Art, and other exhibition opportunities. Here sculptures have won awards.

The late J. Carter Brown, Director Emeritus of the National Gallery, awarded her sculpture "Mending" second prize in Sculpture/Mixed Media in the Open Exhibition of the Fairfax Council for the Arts, and "Mending" was accepted into an exhibition at the National Arts Club in New York City. Her work was exhibited in the Arts-in-Embassy Program and other juried exhibitions. The Capital Area Woodturners (CAW) awarded her a scholarship to study woodturning at the Arrowmont School of Arts and Crafts; and, she demonstrated woodturning at the Renwick Gallery exhibit "Woodturning in America Since 1930." The Virginia Center for the Creative Arts awarded her a fellowship and residency to complete several artworks.

Lynda earned a B.A. in Fine Arts from Hunter College and an M.S. in Museum Education from the Bank Street College of Education, both in New York City, and taken classes at the School for Visual Arts, the Corcoran School of Arts, and the Torpedo Factory in Alexandra, Virginia. She was born in Popayan, Colombia, a city known for its craftsmen, and was raised there in the Andes with the sun and brilliant hues of the surrounding culture.

Lynda became a full-time artist in 1998, working previously in the museum field. She worked with libraries and museums. These include: the Charlotte Glades County Regional Library System in Florida, The Library of Congress, Smithsonian Institution and Wave Hill in the Bronx, New York. In 1975 Lynda began her museum career in New York City, where she developed woodworking, art and outdoor/natural science programs for public and private schools. In 1982 she received her M.S. in Museum Education from Bank Street College in New York City, where she learned to conceptualize and manage creative learning experiences for audiences of all ages in their use of museums, libraries and other educational centers.

In 1983 she moved to Charlotte County, Florida to become the first full-time professional museum director for the Youth Museum of Charlotte County, which was part of the library system. She built the museum into a popular resource for schools and families; designed and installed exhibitions with compelling interpretive programs; expanded volunteer participation; developed imaginative and collaborative partnerships with schools, civic groups, and local businesses. In 1987 she moved to Washington, D.C. where, as a consultant, she worked on exhibitions at the Smithsonian, initiated teacher institutes at the Library of Congress, and helped to manage the World Bank Scholarship Program during a critical transition.

In 1993 she has organized a museum and archives program for the new international headquarters of the Society of Woman Geographers. She initiated and managed a national oral history program; designed and installed two exhibitions; re-housed archival material into acid-free containers with the help of a professional Archivist and several SWG volunteers. She submitted grant proposals to several funding agencies to further the development of the SWG archives, oral history, exhibition and education programs.

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