Lynn Cox

Literal description


22"x 30" 100% rag paper. Inkjet prints are transferred using a specific solution/technique to achieve adhesion and reduction of paper support medium to deposit image. Found materials adhered to the surface. Inkjet-printed images and words adhered to the surface of the paper. Colored pencil, gouache, ink, and other mixed media.

Subject matter-Images as pure patterns and decorations taken from the regular news cycle. The central image sets the theme, The image is chosen for its original content, then evaluated for the manner in which it creates rhythm and color through alignment and position. The process of transferring the image to the paper has within it the element of chance. The adhesion of the central image is weaker in some areas and stronger in others creating a surface, not unlike political or advertising posters pasted to walls of buildings. This appeals to me since it creates a dialog between communication - a message/information of import- while simultaneously indicating impermanence and entropy.

The border images are chosen for color/ pattern /rhythm. The content of the border is meant further inform/challenge meaning through support or contradiction of the central image.




I started thinking about living in the “ information age” and how information overload can degenerate into noise that overwhelms our ability to parse it for meaning. The initial motivation for the work came from thinking about the images that accompany news stories. These images are part of the daily news ‘cycle’. These images are reproduced both digitally and in print. They are distributed around the world and viewed millions of times, then through attrition, become impotent, to be replaced by the next ‘cycle’. After a few weeks, these stories are buried by the onslaught of more ‘new_s’ information. Consigned to obscurity.

Humans need to discover creative and imaginative ways to process this overpowering mass of information in ways that bring clarity and understanding, so it can be incorporated into creating short and long-term living strategies.

Otherwise, we are going to continue to drown in a never-ending avalanche of information and misinformation–unable to determine truth from lies.


As I completed the first few pieces I was struck by how the work reminded me of the tradition of stained glass windows. A traditional purpose of stained glass windows in cathedrals was to create an other-worldly light that moved sensation from the physical to the spiritual world. Another purpose was to provide individuals with information via a parable or image that could be used to help negotiate the secular world. I saw how psalters, illuminated manuscripts, gospel books, and mandalas, were used through history as methods to connect the secular with the spiritual – and as a path to meditation and understanding.


The work presents a visually exciting composition to encourage a viewer to take the time to look. There is a simplicity in the pattern that allows any number of interpretations.

The titles of each piece are a description in date, title, or both. In an exhibition statement, I would encourage viewers to take this information and, through libraries or online sources, answer some of the questions posed by the work.


This series of work started in 2017 as highly experimental. It has evolved to become more sophisticated in scope and content. I have created a document guide that describes the precise size and location of the elements within the work. This facilitates my workflow.


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