Formal gardens of the Western tradition became her ostensible subject matter, but she ultimately zeroed in on the margin between artifice and nature. Not interested in documenting reality, she mastered a diffusion technique to suppress detail in her black and white photographs. Her goal was to make photographs that stepped further and further away from the literal, resulting in rich fields of black that call to mind the opulent darkness of drypoint, a method invented for tonal printmaking. In 2007 she took her last black-and-white photographs, and in 2009 her last color. She found that particular landscape unsuitable to her black-and-white aesthetic. Challenged, she took up color film and taught herself chromogenic printing - pushing the boundaries of this process. As her color work progressed, it became more and more abstract; her colors more surreal, more imagined, and closer to painting than traditional color photography.
Alignement des hêtraies, désordre des futaies et des sous-bois, paresseuses voltes des cyprès ou des peupliers qui bordent les canaux, clair-obscurs formés par les ombres et les pinceaux de lumière qui percent leurs feuillages. Les images de Lynn Geesaman évoquent avec beaucoup de poésie et de sensibilité les canaux de Damme, la campagne italienne ou anglaise, les parcs et les jardins des Etats-Unis ou d'Europe.
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