- sewing, quilting, crafts - is definitely present and is an intentional investigation. However, Linville’s nod towards femininity becomes blurred by the non-functional and unpretty gestalt. That’s not to say that her work is not attractive or alluring in any way; in fact many of her choices are incredibly seductive: the combinations of textures, the lovely use of sherbet colored gradients, the appeal of hosiery. It’s as if we are looking at a negligee after being ravaged that has been pieced together in an attempt to coyly cover once again. It is in this same way that Linville’s work bypasses a quick misperception that it is simply womanish, moving towards that darker, more complex read. There is no timidity in her process, in fact she is quite brazen - there is no smoothing over and prettying up; no apologizing. There is however both a sense of fantasy and playfulness. At times her work does have the look of a child’s fort built up out of sheets and pillows in the living room. But the finishing of the work is done by the viewer who either brings their optimism and sees the potential, or skepticism and sees the unvarnished truth of mismatched materials meeting in zigzag seams. Neither is right or wrong, but instead has a ping-pong effect bouncing back and forth from fantasy to reality, and herein lays the potency of her work. It’s a cliché to consider an artist’s work as autobiographical, but I think in this case it may be appropriate. When talking about her work, Linville lovingly refers to them as being like her on her best day, and it’s that kind of connection and intimacy that’s apparent in her work. I, too, felt connected to the work by way of the familiarity of the materials - the well- worn fabrics like a favorite pillow or dress that you can never get rid of. Likewise, experiencing Tina Linville’s creations are like visiting a friend and being invited to play in her fort.
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