Intrigued by the dichotomy of man-made architecture and nature, Lynda Ray ideates her encaustic paintings as narratives built by layering colors, forms and patterns that reveal a history of the work’s construction. Through the subtraction or scraping away of waxy pigment, Ray exposes earlier stages of development within her works, offering viewers a visceral connection to the materiality of time passing. Ray has worked in the encaustic medium since 1986, receiving a BFA in Painting from Massachusetts College of Art and Design, Boston, MA. She then attended the Skowhegan School of Painting and Sculpture, Skowhegan, ME where she studied with Agnes Martin. Ray also completed Post-baccalaureate studies in Fine Arts at VCU. She has consistently exhibited on a national scale.

 She states: My paintings are containers of time with overlapping transparent layers of color forming a whole. Organic, geometric shapes and space vie for dominance. My process sometimes produces unexpected contours like the curve of the macrocosm, which is bent by mass and energy.


​Lynda Ray is …creating the perception of dimension on a flat plane. First there is the herringbone pattern that makes what appears to be an accordion-fold painting. Then there are the linear geometric shapes that dance vertiginously above the peaks of the folds. Ray heightens the illusion… that you have to look twice to understand that what you think you see is not really what you see at all. Each painting in her oeuvre provides multiple illusionistic surprises.

Joanne Mattera, quote from Depth Perception catalogue for exhibition at the Cape cod Museum of Art.

May 11- June 4 2017

Also distinct — though still geometric — are the encaustic works by Lynda Ray, who takes rectilinear shapes but conveys them with unexpected painterly flourishes.