​Artist Statement​
In my work, I attempt to stretch the boundaries of landscape painting by balancing between a pure celebration of the abstract elements inherent in nature (more specifically the calm evoked when changing light simplifies our    surroundings) and using that celebration as an entrance to a deeper aesthetic goal indicating that there is more beyond the pale.

In recent years a visual vocabulary has emerged that alludes to another space separate from and underpinning the view of the recognizable world. In this other space, calligraphic scribbling suggests communication from the landscape’s creator. Similar markings surfacing, disappearing and re-surfacing to various degrees from within the landscape further the prospect of communing.

My hope is to create works that encourage both myself and the viewer to bask in the elemental – to be still and find rest.​

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​Re​views​
Gallery and Studio International Art Journal
September/October 2009
In both her oils and pastels, Linda Bayer Domanoski employs a refined technique and an exquisite sense of color to evoke atmospherically poetic landscapes. In dreamlike natural vistas, such as “Dawn Glow,” Domanoski’s softly stroked land masses appear within dark borders, like paintings within the painting, adding a sense of distance to her moody imagery and simultaneously calling attention to her work’s formidable formal qualities.                     ​

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Arts in Orange

September 2009​
Linda Bayer Domanoski is a landscape artist whose images are clearly identifiable but whose deeper aesthetic goals can be guessed from some of her titles: her oil paintings “Gray Hope,” “Marsh Calligraphy,” and “Evanescence ” and her pastels “Z,” and “Late Summer Textures” are much more than reproductions of forms in nature; they are explorations of the abstract elements inherent in her figurative compositions, and of the moods they evoke. Her work is not a record of things seen but a recreation of things felt. Stretching the boundaries of the merely visual, the artist penetrates nature to capture what she has described as “the view of the recognizable world” that “sits on top of, or within, another space; one where a suggestion of communication surfaces.”​​
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Guide Magazine, Catskill Mountain Foundation​

September 2008

She beautifully combines the literal with the spiritual, enabling us to experience the landscape in an unexpected way.

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