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Linda Curley Christensen | Prickly Rock Studio
P.O. Box 126 Walsburg, UT 84082
(435) 654-7125www.lindacurley.com

Prickly Rock Studio
Featuring the art of
Linda Curley Christensen


Linda Curley, a native Idahoan, was transplanted to Utah at the tender age of ten. She is the mother of seven, while also being a very prolific artist. Her hard work has earned her numerous awards, including the Gertrude Folgerson National Art Award. The most notable award of late is the highly sought after signature status of O.P.A. (Oil Painters Of America) as well as being named one of the top 100 artists of Utah. Linda has also continued to teach and study art extensively. She loves rich color and dramatic lighting. Her paintings touch the heart and stir the soul. She has evolved in her art from exact realism (every blade of grass) to a very different vantage point. “It is the emotion and song of art that means the most to me.” Her growth as an artist parallels a quotation by John Hafen found in her studio: “In paintings you may see hereafter, cease to look for mechanical effects of minute finish; for individual leaves, blades of grass, or aped imitation of things but look for smell, for soul, for feeling, for the beauty in line and color.” Linda feels her life has been a journey out of the shadows moving steadily toward the light, and this progression is evident in her art. Through the use of beautiful color, masterful technique, and a deep love of her subject, she draws the observer into her quest for beauty, harmony and ultimately…light. “Ordinary scenes, like people, are around us all the time, waiting for the right moment and right light to illuminate their beauty, giving us a rare glimpse of their soul. That’s what painting has taught me and what I love the most. Searching for and finding that beauty.

Pricklyrock is family headquarters for the studio, farm, honey production, research lab, and woodshop. It is near our home in Wallsburg, Utah. Greg and I have twelve children between us. I hadn’t the patience to wait till the children were gone to follow my passion for painting. Consequently, each child teethed on brushes (new ones I hope) while I continued to practice. Sometimes I miss the little fingers helping me. I’ve always wished that one of them would like to learn to paint, for I believe I would be a good teacher. I have a few students that help me, and I love them as my own. Pricklyrock studio and gallery is always open to visit by appointment. We love the company!

I have enjoyed the honor of having my work in many prominent places around the world. There are five large pieces in the Latter-Day Saint Conference Center in Salt Lake City, a mural in the South visitors center on Temple Square, and other paintings in over 80 Latter-Day Saints Temples around the world. Paintings also appear in a Christian reading room in Adelaide, Australia; Murals in Columbia River, Washington; Lubbock, Texas; Monterrey, Mexico; Snowflake, Arizona; The Haque, Netherlands; Brisbane, Australia; Redlands, California; Accra, Ghana; Aba, Nigeria; Manhattan, New York; and Helsinki, Finland, Panama City, Panama; Draper, Utah; and Oquirrh Mountain temples. There is a mural displayed in Draper City Hall and works in the permanent collection of the Springville Museum of Art.

My Grandmother laughed as I stated that I had a desire to paint as well as she did. These vague memories of her sticky oil paint and a baby food jar of oil I couldn’t open had given me no vision of their potential. My parents would take me outdoors to places they loved. I wondered why they wanted to spend so much time in a barren desert. When I began painting my inexperienced eyes had not been disciplined to be observant and patient. I had not yet learned to see into the realities beyond the surface of the subject. Since then, I have found that I must, with patience, train my eye. For ordinary scenes around us everyday appear barren and ugly at first glance. They wait for the right moment of light to illuminate the beauty otherwise lying dormant. Opening my eyes to see has been a quest and a challenge of the most rewarding kind.

I have always thought it didn’t matter what tools one had, only what can be done with what one has. I have tools from many teachers, the most influential being Paul Forester, while others include Floyd Brienholt, Harrison Groutage, Osral Allred, Ken Baxter, Dave Wade, Robert Abbot, Greg Allen, Jim Norton, and Jim Wilcox. The privilege of studying privately with Paul Forester came as a miracle in my life. I went three times a week, once to class and twice a week to help Paul’s wife Peggy with light housework, projects, and cooking. To this day I do not know if she really needed me. She scolded me the first time I came to help her without paintings in tow. I learned to dust quietly while she and Paul critiqued and discussed each work in progress. She was a great teacher as was he.

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