Primarily engaged in painting, Linney’s practice is informed by an interest in technology and the point at which the human hand meets the digital – an attempt to re-humanise the digital through embracing error, chance and glitch.

A consistent visual methodology in her work is a reference to the technology of Photoshop and its ability to create layers of image.  Her painting method responds to this process through the use of grounds and veils in both digital and analogue format . This layering of information through images reflects the contemporary condition of image overload, cascading screens of information that a viewer is weighed down by, a desperate attempt to find meaning in visual clutter whilst mining this clutter for substance. This process is subversive through misusing technologies such as scanners, Photoshop, photography, collage and painting to position the human as defined by imperfection. The end result being a painting- an analogue finishing point built on fragments of the digital.