Lindsy Davis was born and raised in northern New Jersey— adjacent to the city, the mountains and the shore. She graduated with her Bachelors of Fine Arts in 2014 from the School of the Museum of Fine Arts/ Tufts University in Boston Massachusetts. Lindsy spent time post grad in Johannesburg, South Africa studying paper-making and printmaking at the University of Johannesburg, Artist Proof Studio, and Phumani Paper. Once back in the states she dived into the deep end of organic farming in the Hudson Valley of upstate New York. While working with the land Davis realized the necessity of sustainability, community outreach, and skill sharing in her practice. Lindsy relocated to Nashville Tennessee to help build and run a small nonprofit paper mill. In 2016 Davis attended an artist residency through the National Parks Service (The National Homesteading Monument, in Beatrice Nebraska) during their centennial year. Once she returned to Nashville, Lindsy immersed herself into her practice, full time. Davis has been the recipient of the National Artist Relief Grant in 2020 ($5,000). In 2021 she was inducted into Nashville’s Metro Arts Lending Library collection. Lindsy is featured in the Soho House’s permanent collection, Four Seasons Hotel Nashville permanent collection, and several private collections throughout the country, Europe, Canada, and South Africa. Recently, Lindsy has had various group exhibitions at the Mint Museum in Charlotte North Carolina, Ice Cream Social in Port-Chester New York, Elephant Gallery in Nashville Tennessee, Buster Levi Gallery in Cold Spring New York, Zeitgeist Gallery in Nashville Tennessee, and the Parthenon Museum in Nashville Tennessee. Davis had her last solo exhibition, “Objective Nostalgia” at the Red Arrow Gallery in 2021, that same year she got her cat, Bruiser. Lindsy is represented in Tennessee by The Red Arrow Gallery.
Emerging from the still water, we reverberate our presence. Echoing motions radiating toward the patterns we know. Nostalgia, experience, identity and memory play an important role in how the mind perceives space and depth. Evolving my concepts from the wall to the pedestal and back again has allowed me to understand object as memory, surface texture as time and shine as the reflection of the self. Shapes play with domesticity, stacking, and vibrating unoccupied space. By burning my sculptures; sewing and stuffing my paintings, the process yields meaning. The domesticated, teetering balance of our identities, burned or stuffed as a response to gender roles being assumed, protected, reinstated, and rebelled against. Repetition, whether in mark making, movement, breath, material or routine- surrounds our presence and dictates our reality.
The shapes and gestures I use are inherently human. Figures boiled down to just a few shapes, entire memories that just need one continues gesture to define it. I have been playing with Gestalt imagery for over a decade, getting to the root of why we think we see what we see, when we see it. My use of shapes, compositions, materials, and mark making are proof of that. When you think you see something in my work- you do, but that does not mean I put it there. It is important to recognize how we have been trained to see. The pieces I make are a direct response to my own experiences, once it is out there, others will see it through the lens of their own experiences.