This Guggenheim Award-winning painter is known for intensely personal work characterized by a disquieting beauty. Her indelible images deal with feminist issues of power and identity. In her best-known work, Stojak confronts the self, identity, and the female body. Her works have been called “psychological self-portraits.”
Critic Michael Amy has written that Stojak’s paintings give “the illusion of almost intangible flesh, as open as a wound.” He described the “flesh-like surfaces of her pictures” as “rich epidermises filled with the history of their own generation.”
Aside from the underlying narrative impact of the work, Stojak is also focused on quite painterly concerns. Art in America critic Edward Leffingwell has written of Linda Stojak’s paintings that they are “as formally compelling as they are moving.”
Stojak’s work consists mostly of a solitary figure emerging from a contrasting ground, a field of relentless palette-knife-wide strokes of oil paint obsessively worked and reworked until the brushstroke itself becomes the search for meaning.
Hers is a technique both sensual and gestural – the expressionistic played against the conceptual. Linda Stojak’s work is suffused with a profound humanity. In the words of critic Michael Amy: “her figures offer a remarkable evocation of our very lives.”
In addition to receiving a Guggenheim Fellowship, Stojak was awarded a Leeway Grant, a Distinguished Achievement Award from Arcadia University and a residency in Toblach, Italy. Her work has been reviewed in numerous publications including The New York Times, Artforum, Art in America and Art News. It is in over 300 private collections as well as in public collections such as The University of Pennsylvania, Brown University and The Harn Museum of Art. She is represented by Stephen Haller Gallery in New York and LewAllen Galleries in Santa Fe.