Linda Craddock

Levitas

Linda's artistic practice delves into the intricate ways memory and reality operate in real-time, rejecting strict linearity in favor of a more authentic representation of human thought. Her compositions weave together disparate locations and figures from varied time periods, creating visual spaces where boundaries between eras dissolve. These layered works generate those rare eureka moments—when scattered puzzle pieces suddenly align, offering viewers a clearer sense of self and place. Beyond their aesthetic appeal, Linda's pieces serve as evocative invitations, prompting audiences to reflect on their own realities, backgrounds, and the accumulated experiences that shape identity. In doing so, her art becomes a collaborative act of imagination, bridging the gap between artist and viewer in a shared exploration of what truly makes us who we are in the world.

The series explores ascension as both a physical and spiritual metaphor, set against the backdrop of Banff National Park. Craddock uses the imagery of vintage gondola rides from the 1950s to represent transcendence—erasing the mechanical apparatus entirely to show a figure rising "unrestrained."

She weaves family memory into the work, depicting her aunt (circa 1940), grandmother, and mother alongside contemporary figures. She acknowledges the deeply personal motivation behind the work:

"I transcend the everyday to explore this inner world of time passing and people returning. It has always been this way for me. Maybe I want only to rise above the confusion of my dyslexic brain and the drama and trauma life brings."

Each painting undergoes weeks of planning. Craddock contemplates who will "rise to the occasion"—family members, strangers, or herself.

This is a contemplative body of work that balances personal contemplation and healing with universal themes of memory, time, and transformation. The protected space of Banff becomes both literal setting and psychological sanctuary for exploring what it means to rise above circumstance.

Mirage: It began with a rose in the snow.

A recognition that everything changes—no longer hidden, yet no longer in existence—defines the atmosphere of Linda Craddock's work. Her art reflects an ongoing exploration of transformation, grounded in the understanding that none of us live entirely in the present. What we perceive as “now” is a fusion of personal and collective experiences shaped by the framework of our current existence. This dynamic interplay defines who we are, and the tension between conscious memory, subconscious memory, dreams, and reality forms the foundation of her work.

The artist seeks to transcend the everyday, exploring an inner world shaped by time and its passage. This pursuit has always been central to her work. She strives to rise above the confusion, drama, and trauma that life inevitably brings, acknowledging that transcendence is no easy task—unless one chooses to allow it.

Her use of metaphor is deeply autobiographical, drawing from personal experiences and rooted in themes of change, the longing for freedom, and the desire to retreat.

Canyon Series (Marble / Johnston):

Water, at the time of the spring thaw, has many transitional stages - from ice to liquid to mist.  This capacity for metamorphosis has autobiographical meaning and is related to the inevitable cycles of life, and cycles within life.  The seasons are internal as well as external.   The phenomenon of water as it rushes over rock and slowly etches its way into that vertical landscape, reminds me to free myself from the machination of the everyday.  

I work with the peripheral light on the canyon water and I manipulate the paint to merge and transform subject and object. What remains is a mirage and as such, a more profound, and personal art form.

I manipulate digital video, still photography, and acrylic paint as the source material for the collage elements on birch board. The final surface handling consists of oil paint and oil glazes.

Hometown Dreams:

Everything changes.  Storms bring thunder, lightening, rain.  Winter ice thaws.  Wind wears down, breaks down.  What my ancestors, generations of prairie dwellers, built has disappeared by the force of its very environment and choices made by subsequent generations. Perhaps change is a reprieve, maybe liberation from what has passed.    Those who remain on the land or in the old towns carry on  and move into a new economic future but I can only see the ghost image and debris of what has been.  All is adrift, falling or ascending.  I walk down Main Street and experience what is no longer real.

I recall places, buildings, streets, farm houses, elevators, mostly gone.  No longer hidden but no longer in existence.  The atmosphere is of change, stormy skies over fields. Buildings on Main Street. Old sheds, and tiny homes that housed the old people after they left the farm. The grain elevator, long gone.

These are paintings, in part, of an enchantment with the mountain landscape that transcends the literal monumentalism of rock. Gorgeous (Myrna Kostash, Dec 2022).”

A native of east-central Alberta, Linda Craddock has been creating art since the early 1970s. Initially working with textile and photography, Linda Craddock now paints with oil on photo-based work. She is an active member of the Alberta Society of Artists. 

Her work has been featured in solo and group exhibitions across Alberta, British Columbia, Saskatchewan, and Ontario, as well as in Czech, Poland, and the United States, including the Canadian Museum of Contemporary Photography, the Glenbow Museum, Medicine Hat College, Visual Arts Alberta Gallery, and the Edmonton Art Gallery (now the Art Gallery of Alberta).

A graduate of the Alberta College of Art (now Alberta University of the Arts) and the University of Calgary, she has taught at institutions including the University of Calgary, the University of Victoria, the Western Academy of Photography, and Red Deer College.

I spend weeks planning each painting.  I choose a location and then I ponder.

I transcend the everyday to explore this inner world of time passing and people returning.  It has always been this way for me. Maybe I want only to rise above the confusion of my dyslexic brain and the drama and trauma life brings.  It is no easy task, to transcend, unless I want it to be.

Her work is found in the permanent collections of: The Canadian Museum of Contemporary Photography, Ottawa, ON.; The Art Gallery of Alberta, Edmonton, AB.; The Alberta Foundation for the Arts; Alberta Culture (Edmonton Law Courts); Pro Arts Society, Calgary; Cantos Music Foundation, University of Calgary, and numerous private collections in Canada, the United States, and Europe.

Education:     

1988 - Master of Fine Arts, University of Calgary:  Photography
1982 - Bachelor of Fine Arts, University of Calgary: Photography/Drawing
1974 - Art Diploma, Alberta College of Art: Textiles

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