Today we’d like to introduce you to Linda Dumont.
Hi Linda, so excited to have you on the platform. So before we get into questions about your work-life, maybe you can bring our readers up to speed on your story and how you got to where you are today?
I am a multidisciplinary visual artist whose practice spans painting, drawing, and sculpture for more than fifty years. I grew up immersed in the arts—ice skating, playing the piano, dancing, and drawing from an early age. One of my earliest influences was my great-uncle, Joseph Margulies, whom I observed painting in his studio for many years.
Early in my career, I saw the work of Helen Frankenthaler at Brandeis University and I knew I had found my calling. I received my formal training at the Boston Museum School, which provided a strong technical foundation for my work. Learning to work traditionally and classically at the museum school provided the foundation I needed to move into abstraction. The first decade of my career focused heavily on non-objective abstract painting.
In 1996, I was honored with a solo exhibition at the McAllen International Museum. During this period, I maintained a large studio practice and completed major abstract commissions. Working in an 1,800-square-foot studio allowed me to think expansively and produce work on an architectural scale. A pivotal shift occurred when I began to turn my attention to architecture itself, particularly the Texas Capitol, which led to the development of my cityscape series.
As commissions increased, my cityscapes turned into ribbons for conference rooms and dining rooms. I had the opportunity to work with Joy Womack, a famous ballerina, and spent time deeply studying her body, her technique, her style. This exploration led me back to my love of drawing, and I began drawing with pastels around this time. This return to drawing re-engaged my focus on the human form. I began to focus particularly on the torso. Experiments with this specific element of the human form became a recurring theme in my work and my torso series eventually moved from paint into clay, expanding my two-dimensional work into sculptural form.
I began working at a clay studio, and the small torsos I started with eventually grew into abstract and figurative busts. During this time, I had the chance to visit the studio of Charles Umlauf. His approach to form inspired me and, ultimately, left a deep impression on both me and my work. In 2016, after decades as a studio painter, I began plein air painting. This shift redirected my attention toward light, immediacy, and the everyday. This evolution continued during the COVID-19 pandemic. I allowed my practice to become more intimate, resulting in a sustained body of work I refer to as the “Welcome to My …” series, a collection of still-life paintings, drawings, and sculptures focused on close observations from daily life.
I consider myself a Renaissance artist, moving fluidly between disciplines. My work continues to evolve, and after 50 years of practice, I am still guided by curiosity and a desire to experiment with both materials and form. My current work includes a portfolio of flowers in oil and mixed media.
Small scale paintings 10″ x 12″ to 4′ x 5′ oil on canvas and panel surfaces. I love the feel of the spontaneity and use of palette knife , action and color both true and fanciful!
The torso shape both in paintings and sculpture are also a current passion. My small torsos are now bust size shapes in clay of the Buddha and animal forms and self portraits.
Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
Moving studios always is challenging . Now in a smaller space sculpture is taking over but painting continues. Space dictates your dreams and space to produce them. Challenge of supplies not as effective and not the purity as before. So the science behind the creativity changes which changes the outcome.
Thanks for sharing that. So, maybe next you can tell us a bit more about your work?
I like to think of myself as a kind of modern Renaissance artist, always jumping between different creative worlds. Even after all these years, I’m still just following my curiosity and having fun experimenting with new materials and forms. Lately, I’ve been painting a lot of flowers in oil and mixed media, and I love the feel of using a palette knife I use it as a brush . Color is impulse as I move across the surface.
I’ have been sculpting torsos in clay, from Buddha figures to animals and self-portraits.
Of course, it’s not always been a smooth ride—switching studios and adapting to new spaces has had
its challenges. But honestly, every change brings new inspiration. I’ve even ended up creating a series inspired by the homeless people around our block. A shopping cart series was born!
In the end, I’m known for my big abstract paintings and the energy they bring to spaces, and now I’m exploring 3D art forms too. I’ve never really followed the pack, and that’s what keeps my work interesting to me.
Any advice for finding a mentor or networking in general?
I value learning through mentors, collaboration, and ongoing creative exchange.
Networking thru another art form and their board of directors gives new invites and opportunity.
Contact Info:
- Website: https://www.dumontfinearts.com/
- Instagram: https://www.instagram.com/dumontfinearts/
- Email: dumontfinearts@gmail.com
Image Credits
Romina Olson Has photographed some the works . I am having Romina photograph me next week for a portrait image that will be available. The ice storm interfered with our plan.
Thank you for this opportunity to show my ART.
