Between 2020 and 2023 Linda Loh was featured in three editions of the Brooklyn NY based Caddisfly Project artist publication

Caddisfly Project Vol. 01 Transitions

Caddisfly Project’s Vol 01: Transitions, a collaborative artists’ magazine featuring ephemera, poetry, essays, sketches, experiments, and more. In this issue, underlining the ceaseless changes artists undergo as they negotiate the fickleness of making art within an unstable cultural/political/environmental landscape. In so doing, we hope to find commonalities and reveal idiosyncrasies in the way artists approach their work.

Editors: Karen Y. Chan & WhitneyRamage
Graphic Designer: Adriana Gallo
Copy Editor: Jessica Adams

Participating Artists: Yasmeen Abdallah, Jessica Adams, Karen Y. Chan, Maeve D’Arcy, Adriana Gallo, Linda Loh, Yorgos Maraziotis, Amalya Megerman, Whitney Ramage, Frank Zadlo

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Caddisfly Project Vol. 03 Abyss

This issue was a little different; carefully curated images formed a collection of 15 prints featuring the work of Will Hutnick, Linda Loh, Jasmine Murrell, Lindsay Packer, and Felipe Siexas. These prints will go into the world and have lives of their own; whether they remain a book, become an installation, or get split up and gifted to friends!

Caddisfly Project is a collaborative artists’ magazine featuring ephemera, poetry, essays, sketches, experiments, and more. In this issue, we explore our relationship to the abyss—that border with the unknown, that moment of reckoning, that brush with oblivion.

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Caddisfly Project Vol 04 Links

Links was a special project inviting collaboration between artists from across international borders.

Linda Loh was in Naarm/Melbourne Australia when she worked with Ilian Gonzalez in Mexico City.

Over the course of six months, between April to October 2021, Caddisfly Project worked with 21 selected artists on an experimental project called Links setting out to create, discover, and observe connections with each other. Links, at its core, is a mapping project. By creating and fostering artistic relationships this project hoped to document the connective tissue of a global artist community.

Artists were given the option to partner with each other in correspondence. Exchanges were made via any method such as traditional letters, artwork in any medium, suggestions, instructions, prompts, poems, lists, etc.

Participating artists: Jocelyn Beausire, Maeve D’Arcy, Ilián González, Sophie Madeleine Jaillet, Katya Khan, Linda Loh, Alex Mah, Amalya Megerman, Lindsay Packer, Lauren Peterson, Laura Reid, John Richey, Marcy Rosewater, Jonathan Sims, Jeremiah Teutsch, Leslie Ting, Elizabeth Tolson, Denise Treizman, Michael Watson, Harvey Weiss, Andy Wellington

Images below by Linda Loh and Ilian Gonzalez.

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Caddisfly Project ARTIST SPOTLIGHT: LINDA LOH

In July 2020 Caddisfly Project conducted a micro-interview with Linda Loh, and shared a video Sliver (2020) to accompany it. While the website with the interview is no longer available, the social media post is viewable, and the text is copied here:

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Caddisfly Project conducted a micro-interview with artist Linda Loh, whose work is featured in Vol 01: Transitions. Linda is a multimedia artist based in Melbourne and New York City.

We love her work for its sensitivity and inventiveness. She works with light as if it were a living organism in its natural habitat and sometimes transposes it onto digital landscapes.

1. Describe your workspace.

My space is wherever I am, and for the last year, in both NYC and Melbourne, Australia, my space has been my home. Right now in Melbourne it is a room at the front of my house, with windows on 2 sides. I have a view through a tree to my quiet street, where I can see people with their dogs on the way to the park. All horizontal surfaces are covered with random detritus. Most of my work is derived from what’s there in front of me, whether it be a chance angle of the sun through a window, or a reflection I hadn’t noticed before, or the strange oxidation colours of a saucepan. My laptop computer is my studio, along with my phone, and I love that mobility. One of the many reasons digital art appeals to me is that it doesn’t take up any real physical storage space and can be made anywhere; arguably art that doesn’t exist. I have no fancy, expensive equipment; I try to keep it light and simple, working with what I have. 

2. Describe your daily routine.

Mornings can be slow. My first coffee  is a disproportionate pleasure, preferably in the sun or bed, or both. I enjoy a big walk outside to a nearby bushland creek, or around the local streets. It helps justify my otherwise sedentary day, but I also capture images that might feed into work. In normal times I might meet a friend for coffee and chat once a week or so. 

I attend to admin, email, deadlines, chores. I’m an information hoarder, and spend a lot of time writing notes in my phone, with so many things to look up that I almost have a micro internet of my own. I can’t seem to get through a podcast, talk, book or article without writing down something for future reference. In turn, that podcast, or whatever, will have been something from a previous note. So I might review some of the things I was looking at already, from my multitude of open browser tabs, or things that pop up from my lists. Most of it is about art; right now I’m learning a lot of software, and looking at net art, so my lists are never ending. I’m coming to terms with this research habit being an intrinsic aspect of my work.

By afternoon the light in my room, or around the house, often presents opportunities for capturing video or stills, sometimes observed by chance when I am otherwise just working on my computer.

Around 5pm, when normal people are on their way home from school or work and looking leisurely, I start to get productive. I get on such a roll that dinner itself is a distraction, especially if I’m the one cooking. In past times exhibition openings clashed with this. Night time is also optimal if I am using my mini projectors. 

My computer gets switched off later, after I’ve postponed my reminders yet again. If it’s not too late, being horizontal on the couch in front of the TV is an appealing treat, because it’s been rare for me over the past year.

Exciting life!

3. What’s the smallest thing that gets in your way (like a grain of sand in your shoe)?

Those internet rabbit holes I find myself down frequently.

The procrastination from being stumped at the foot of multiple steep learning curves. 

4. What are you reading now?

I’m about to launch into research about Neoplatonism, a less discussed corner of philosophy. In that context, I’m excited to get stuck into Plotinus and the Moving Image, a comprehensive collection edited by Thorsten Botz-Bornstein and Giannis Stamatellos. It discusses poetics, aesthetics, the transparency of reality, illumination, contemplation, consciousness, unity, the ineffable, the ephemeral, atemporality, eternity, perception, reflection, the universe; phew, all my favorite themes in one place! 

I’ve happily got a hold of the beautifully succinct Metaphysics and the Cosmic Order, by Joseph Milne. It discusses ways of knowing, and how our attachment to fixed views of reality is starting to lose hold; a shift that is not a moment too soon. 

I’m part way through Ninth Street Women by Mary Gabriel, a rich account of the lives of the women of Abstract Expressionism in New York; a fascinating period piece. It’s a brick of a book that I’m lucky to have on indefinite loan from my local library, due to COVID closures. 

Finally, I’m looking forward to Michael Pollan’s How to Change Your Mind, which has been waiting on my shelf for a while. I read its spine every time I walk past. 

One day I will read some fiction again; surprise, I have a long list!

5. How would you title your autobiography?

It all made sense to me [with regard to my somewhat meandering path in life].

Video Sliver (2020) featured with the interview. No sound.