"But what is LOVE? Sally Linder wants to know. In her current show called LOVE IS at the Green Tara gallery, Diane Gayer’s converted church in North Hero, she looks at love through all sides now, moving easily through representation and abstractions, nailing her structure so emotions may fly free. Figures emerge from riotously patterned cloth, focused on each other either in sleep or play. Even in their utter stillness, we felt the depth of their attractions:  love is never stagnant, even in sleep, LOVE IS connection in color."
Riki Moss, Green Tara Space, North Hero, Vermont 2022

"One of the central works in White Magnetism stands out for it's bright yellow-orange tone. In a Lifetime shows a polar bear glancing back as a landscape of broken ice stretches before her. The fiery sunset glow evokes Turner's famous 19th century shipwreck paintings, with a similar sense of terrifying foreboding."
Brent Hallenbeck, Burlington Free Press, Burlington, Vermont 2016
"Sally Linder's environmental activism is her art. It is not some altruistic activity to be engaged in at a convenient time and place; her art is the core of her being. It is life itself."
"The individual paintings are large (Approaching a Threshold series) making them impossible to ignore. Linder's skill and understanding of the anatomy of her subjects is evident, but it's the undeniable empathy and overwhelming sadness permeating the paintings that tugged at my heart.."
Cynthia Close, Vermont Woman, Burlington, Vermont 2016

"So how does one imbibe the immensity of the Arctic and then return from that immersion to tell the story? This is what Sally Linder does in her (Arctic) landscape paintings. She brings the viewer to that edge of beauty and immensity, to the emptiness of sky, water, and mountain. You breathe in the expanse from all directions. 

Finally, as artist, Linder leads us to the brink and asks us to see, whether we want to or not. In Bottom Line the impact of our greed, our blind ambition is revealed - - the Arctic world, as we know it is fracturing, bleeding, and overtaken by robotic drilling rigs."
Diane Elliott Gayer, within the Circle, Champlain College, Burlington, Vermont, 2015

"Linder's familiar hand mixes expert drawing with generous gesture, evoking the skill and ease that only come from continuous dedication."
Amy Rahn, Art New England, Boston, Massachusetts, 2010

"These final series' are perhaps the clearest reflection, the most complete in her realization of the inherent perfection of life and creation. Coming back to the essential bones of PelvisSkipping Stones and Metamorphosis reminds the viewer that if one can still oneself enough to notice exchanges of energy, truths are revealed. Linder's own exploration achieved through the natural progression of these ten series, with each spilling from the next, culminates ultimately in the revelation that we, as beings, are surrounded by possibility, and that the gift of inspiration is infinite if we choose to trust it."
Amanda Sanfilippo, Sally Linder, Kasini House, Montreal, Canada, 2010

"Sally Linder's compassion for the earth and its many inhabitants is conveyed in the most human of expressions in both her abstract and realistic renderings. The rich stories Linder tells in this exhibit are impressive and truly awe inspiring."
Darby Parsons, Vermont Art Zine, Vermont, 2010

"They (the Skipping Stones series) seem to exemplify the paradox of the profound-simplicity embodied in the act of a moment fully noticed."

"The abstractions of the 2009 Metamorphosis series are orchestral in their complexity. The interplay between the inner intuited realms and the outer phenomenal references of flora and fauna, fully rendered, fragmented, and sometimes lost all together, seem to co-arise over time. It is as if they had to wrestle and roil before coming to resolution in these emotionally charged canvases."
Cameron Davis, Sally Linder, Kasini House, Montreal, Canada, 2010

"These exquisitely executed canvases seem primarily concerned with expressing an absolute joy of creation, making Linder's abstract acrylics both powerful and refreshingly playful."
Marc Awodey, Seven Days, Burlington, VT, 2010

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