Linda Rempel


I identify with a quote I once read that suggests drawing is “a personal practice used as a vehicle for developing visual awareness; a combination seeing, thinking, and planning that is relevant to all art disciplines.” Based on this definition, I consider fibre art to be one form of drawing within the context of my artistic practice.

Working Method:
For Tactile-visual learners like myself, the physical process of making art through active engagement using ones hands to draw, or manipulate material, is just as important (or perhaps more important) as the resulting art object. For example, I intentionally pursue a hands-on approach in my ongoing research project “Drawing the Contemporary Classical Figure”. By individually using material like wire and masking tape to build each bone of the human body in 3-dimension, and by individually drawing the muscles of the human body in its anatomical context, I hope to understand the human form as a whole and in greater depth. As a Kinesthetic learner, I also have a better chance of facilitating my ability to memorize and internalize the knowledge of the body structures through physical involvement in the act of making.  Learning, after all, is achieved through doing if one is Kinesthetic.

I first became aware of myself as as a kinesthetic learner in my 4th year of studies at the Alberta University of the Arts. For me this awareness opened the door for a greater capacity to appreciate, understand and value the benefits of hands-on art making as a means to achieve personal growth.


Since graduation in 2011, Linda has been busy developing a contemporary figure drawing approach. In 2018, she received a Calgary Arts Development Small Experiments Grant in support of her research project “Bones Muscles Skin: Drawing the Classical Contemporary Figure.”

Funding enabled her to study the suitability and potential of masking tape as a contemporary form of media.

The process of using masking tape, saran wrap and wire to make 3-dimensional life-size anatomically precise figurative forms is work intensive and demands a detailed knowledge of anatomy. Thus, Linda spends much time in studio drawing and making body structures.

Linda Rempel - Bones Muscles Skin Research Study.3



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