Whether painting from pure imagination, from photographs or en plein air, Lawrence enjoys covering diverse surfaces from canvases to furniture with her colorful, spiritually inspired, exuberant work, designed either to soothe or to motivate action.
The artist's enthusiasm for painting embraces commissions, creating portraits of special places and loved ones, and yes, including pets. She delights in turning furniture into works of art with little or lots of detailed personalized directives.
From time to time, on her own or by request, she may incorporate various 3D elements into paintings and furniture.
Her favorite approach is to be "given her head," or "free rein" to go where spirit leads her within a prescribed theme.
Yet, there is a sense of adventure and discovery in all methods that keeps her eager to know what comes next!
Clients may be updated with periodic jpegs of commissions in progress to be part of the journey and offer input along the way.
Interacting with people is part of the fun for Lawrence.
So, whether interested in commissioning a piece or in knowing more about a completed work, do not hesitate to contact the artist.
(Scroll down for Résumé & Bio.)
Born in East Liverpool, Ohio on the Ohio River in 1950, I moved with my family to New Jersey when I was twelve, knowing since five that I wanted to be an artist. After getting a B.A. in Studio/Applied Art at Goucher College in 1972, I went on to do some post graduate study at The Maryland Institute, College of Art, including a brief stint at The Hoffberger Graduate School of Painting. Since I loved the process of making art yet never felt fully synced with the established career path on the East Coast, it was easy, in 1982, for visions of the Southwest to uproot me and bring me to New Mexico, where I felt "home."
Happily, I concluded my time in Baltimore with a show at The Grimaldis Gallery, distinguished punctuation to the transition from familiar grounds to an expanding unknown. I soon bought a truck and headed out with camping gear to The Land of Enchantment.
While living in various areas of the State, including Las Vegas, I have maintained New Mexico as my home ever since. I continue to find the open skies, broad landscapes and peaking mountains conducive to stretching myself beyond personal, previously accepted boundaries both in creating art and in learning about life itself.
(IMAGE ABOVE: Detail from "The Green Mural," also known as "The Waterfall Mural," in the waiting room of a laser treatment center in Albuquerque, New Mexico.)
CANVASES: Oils, acrylics, water-based stains and mixed media on stretched canvas or linen, or on canvas board (or also on gessoed masonite).
MURALS: Acrylic and latex paints, applied directly to site walls or to constructed surfaces at the artist’s studio for later installation on location.
Sculpture and 3D Paintings
Painted paper maché, wood and found objets, including mannequins,
sometimes incorporating neon lighting (3D paintings).
Usually, recycled furniture as found objects, which are painted in the same manner the artist approaches formal canvases or murals.
Drawings & Handmade Prints
Charcoal, pen and ink, pencil, etching, aquatint and mixed media.
Clothing of raw silk, wool and cotton fabrics in various styles,
painted with textile paints.
Jewelry of Lawrence’s artwork, embedded in plastic by plastics engineer,
Armand G. Winfield: Winfield Fine Art in Jewelry II.
FOLK ART: Sculptures of painted wood, found objects, and cement and steel; with William (Billy) Rodriguez.
JEWELRY: Painted images and abstractions, embedded in plastics as framed art or as jewelry; with plastics expert, Armand G. Winfield.
“Conscience: Cowboy’s Self-Reflections.” (Also known as “Hero’s Domesticity Amuses His Spirit.”) Oil on canvas, employed as book cover for Cheeleaders From Gomorah by John Rember, Confluence Press, Inc., Lewiston, Idaho in October 1993.
"Gatekeeper" is a favored example of my 1990s collaboration with Armand (1919-2009).
I made the artwork, and he embedded it in plastics and assembled it according to my design and the beads etc. I provided.
Creating spinoffs from my original work is a fun process that makes the imagery more accessible
by making it more affordable
and versitile. 46.00ea plus shipping
Pillows come in 2 sizes: 12X12 inches and 20X20 inches. Average 50.00ea plus shipping.
Blankets come in Twin and Queen.
Average 100.00ea plus shipping.
Averaging 100.00 each.
There are two designs so far.
All products are available through inquiry via button below.
(IMAGE ABOVE: Detail of "Lorenzo's Treatment Room," a full room mural in Santa Fe, New Mexico.)
2022 — THE ANNUAL NEW MEXICO PAINTER'S INVITATIONAL EXHIBITION, Sponsored by New Mexico Highlands University Foundation, Las Vegas, New Mexico. FOUNDATION,
2021 — SOLO RETROSPECTIVE VIRTUAL EXHIBITION, sponsored by THE NEW MEXICO HIGHLANDS UNIVERSITY FOUNDATION, in lieu of the "bricks and mortar" exhibition that is postponed until 2022 and in promotion of that upcoming show.
— THE ANNUAL NEW MEXICO PAINTER'S INVITATIONAL EXHIBITION, Sponsored by New Mexico Highlands University, Las Vegas, New Mexico. Virtual exhibition with an "bricks and mortar" opening reception under tents on September 12, admission to gallery viewing between 2pm and 7pm by signing online at http://galleries.nmhu.edu/currently-at-the-kennedy-gallery/
— THE SANTA FE STUDIO TOUR, Opening reception/preview at The Woman's Club, 1616 Old Pecos Trail on October 8, 5-7pm; Open studios TWO WEEKENDS: Oct 9-10 and Oct 16-17, 10AM to 4PM
— SOLO EXHIBITION at THE KENNEDY GALLERY, NMHU, LAS VEGAS, MM in NOVEMBER and DECEMBER; A virtual presentation to accompany an actual event with opening reception to be announced.
2020 — THE ANNUAL NEW MEXICO PAINTER'S INVITATIONAL EXHIBITION, Sponsored by New Mexico Highlands University, Las Vegas, New Mexico. Virtual exhibition due to COVID-19. galleries.nmhu.edu
2019 — THE ANNUAL NEW MEXICO PAINTER'S INVITATIONAL EXHIBITION, Kennedy Hall, New Mexico Highlands University, Las Vegas, New Mexico. September and October.
2017 — HEWETT HALL, New Mexico Highlands University, 1103 National Avenue, Las Vegas, New Mexico, 87701. Sponsored by The Las Vegas-San Miguel Economic Development Corporation "Business Hub." A Changing Exhibition of paintings, ink and charcoal drawings, prints (giclées) and examples of DreamPainted Furniture. January - October.
— THE MEDIA ARTS BUILDING, Luna Community College, Las Vegas, New Mexico, 87701. An invitational changing exhibition, including paintings, drawings, giclées and DreamPainted Furniture. January - April.
2016 — HEWETT HALL, New Mexico Highlands University, 1103 National Avenue, Las Vegas, New Mexico, 87701. Sponsored by The Las Vegas-San Miguel Economic Development Corporation "Business Hub." A Changing Exhibition of paintings, ink and charcoal drawings, prints (giclées) and examples of DreamPainted Furniture. August - December.
— THE ANNUAL LAS VEGAS STUDIO TOUR. Artist's Exhibition at HEWETT HALL, Las Vegas, NM.
— THE MEDIA ARTS BUILDING, Luna Community College, Las Vegas, NM. An invitational changing exhibition of paintings, drawings, archival pigments on stretched canvases and major pieces of DreamPainted Furniture. November - December.
2015 — THE ANNUAL LAS VEGAS STUDIO TOUR. Artist's Residence & Studio, Las Vegas, NM.
— "The Garden Art Exhibition." Invitational theme exhibit, through and with the THE CITIZENS' COMMITTEE FOR HISTORIC PRESERVATION'S "Las Vegas Annual Garden Tour." Las Vegas, NM.
2014 — “The New Wall.” As visiting artist, three months at TAOS ARTISANS GALLERY, 107 Bent Street, Taos, New Mexico.
2010 — THE ANNUAL LAS VEGAS STUDIO TOUR. Artist’s Residence & Studio in Las Vegas, New Mexico.
— “Dwelling Places.” Invitational Group Exhibition, LAS VEGAS ARTS COUNCIL GALLERY. 140 Bridge Street, Las Vegas, New Mexico.
— “As Above, So Below.” LAS VEGAS ARTS COUNCIL GALLERY, 140 Bridge Street, Las Vegas.Three Person Exhibit.
2009 — THE LAS VEGAS ANNUAL STUDIO TOUR, Artist’s New Residence & Studio in Las Vegas, New Mexico.
— “Artists of Historic North New Town Neighborhood, Las Vegas ” ROYAL MASTODON SOCIETY GALLERY, Bridge Street, Las Vegas, New Mexico. Group Show.
— “Turning Point.” Las Vegas Arts Council Gallery, 140 Bridge Street, Las Vegas. Group Show.
2008 — WAR-DANCER GALLERY, 150 Bridge Street, Las Vegas, New Mexico. Rotating Group Exhibitions.
2005 — “The Shrine Show.” OWINGS DEWEY FINE ART, 120 Marcy St., Santa Fe, NM. Group Show.
2002 — “DeAvila Loft Solo Exhibition,” Held Over. DeAVILA LOFT, Terrell Road, Santa Fe, NM. Including On Site Murals and Installations. Solo Show.
2001 — BLUE ROSE GALLERY, Santa Fe. Painting, DreamPainted Furniture. Group.
— DeAvila Loft Solo Exhibition, DeAVILA LOFTSanta Fe. Opening of the multimedia event.
2000 — BLUE ROSE GALLERY. Santa Fe. DreamPainted Furniture, Paintings on Wood.
1999 — BLUE ROSE GALLERY. Santa Fe. DreamPainted Furniture, Paintings on Wood.
1997 — Santa Fe Furniture Expo, SWEENY CENTER, Santa Fe. DreamPainted Furniture.
1996 — LIZA WILLIAMS GALLERY, Santa Fe. Painting, including 3D with Neon. Group.
— THE STABLES GALLERY, Taos, NM. Painting. Juried Exhibitions.
— THE STABLES GALLERY, Taos, NM. 3-Person Show. Painting, including 3D.
— SYLVIA ULLMAN GALLERY, Cleveland, Ohio. Painting and DreamPainted Furniture. Group.
— THE BARDEN GALLERY Albuquerque, NM. Painting as Illustration: “Conscience: Cowboy’s Self-Reflection.” Large oil on canvas as selected for book cover, Cheerleaders from Gomorah, by John Rember, Confluence Press, Inc., Lewiston, Idaho. October 1993. Group Show.
1995 — THE SANTA FE OPEN STUDIOS TOUR, sponsored by SFCA, Santa Fe. Invitational. Paintings at The Artist’s Home Studio in Santa Fe, NM.
1994 — THE NASSAU CLUB Princeton, New Jersey. Painting, DreamPainted Furniture Solo Invitational Exhibition.
— SYLVIA ULLMAN GALLERY, Cleveland, Ohio. Painting and DreamPainted Furniture. Group.
— THE SANTA FE OPEN STUDIOS TOUR, sponsored by SFCA, Santa Fe. Juried Show. Paintings at The Artist’s Home Studio in Santa Fe.
— THE STABLES GALLERY, Taos, NM. Painting. Juried Exhibitions.
(IMAGE ABOVE: Section of wrap around mural for a lasar treatment room, Albuquerque, New Mexcio.)
1993 — JET, Santa Fe. Wearable Art Jewelry, in collaboration with plastics expert, A.G.Winfield.
1991 — THE THOMLINSON CRAFT COLLECTION, Baltimore, Maryland. Wearable Art Clothing. Group.
1990 — THE PATTON/DUVAL GALLERY, Los Angeles, California. Folk Art Sculpture in collaboration with William (“Billy”) Rodriguez. Group Show.
— SANTA FE STYLE, Washington, D.C. Sculpture, as above.
— ELAINE HORWICH GALLERY, Santa Fe. Sculpture, as above. 3-Person Show.
— MENAGERIE GALLAERY, Aspen, Colorado. Sculpture, as above. Group.
— SOUTHWEST EXPRESSIONS GALLERY, chicago, Illinois. Sculpture, as above.
— KNIGHT (NYE)/GOMEZ GALLERY, Baltimore, Maryland. Painting. Group.
— RENAISSANCE ART GALLERY, San Diego, California. Sculpture, in collaboration with Rodriguez.
— THE SPANISH MARKET, Santa Fe. Sculpture, as above. Juried Exhibition.
1989 — THE BRIGETTE SCHLUGER GALLERY, Denver, Colorado. Sculpture, as above.
— THE SPANISH MARKET, Santa Fe, NM. Sculpture, as above. Group.
— THE DALTON-CORDOVA GALLERY, Santa Fe. Sculpture, as above. Group.
— RENAISSANCE ARTS GALLERY, San Diego. Sculpture, as above. Group.
— SOUTHWEST EXPRESSIONS GALLERY, Chicago. Sculpture, as above. Group.
1986 — WHITETOPS GALLERY, Palm Desert, California. Painting and Wearable Art Clothing.
— ARTISTS' GALLERY, Santa Fe, NM. Painting and Wearable Art Clothing. Solo and Group Shows.
1981 — C. GRIMALDIS GALLERY, Baltimore, Maryland. Painting. Group.
— THE DAWINGING HUMMINGBIRD GALLERY, The Plaza, Taos, New Mexico. Painting and Drawing. 4-Person Show.
1980 — PRINCETON ART ASSOCIATION, McCarter Theater, Princeton University, Princeton, New Jersey. Group.
1979 — LOYOLA ANNUAL INVITATIONAL EXHIBITION, Loyola University, Baltimore, MD. Painting.
— BALTIMORE ARTS FESTIVAL, Baltimore,MD. Painting. Jurors: Lowell Nesbitt, Artist, New York City, NY; Lowery Sims, Associate Curator, The Metropolitan Museum of Art, Department of Twentieth Century Art, NYC.
1979 — “Label: Women.” Regional Juried Exhibition, Sponsored by The Women’s Caucus for Art. Jurors: Audrey Flack, Artist, NYC; Jo Ann Lewis, Art Critic, The Washington Post; Ellen Miles, Associate Curator, The National Portrait Gallery, Washington, D.C. Catalogue.
— THE BALTIMORE ARTS TOWER GALLERY: “Special Invitational Exhibit for The Mayor’s Advisory Committee on Arts and Culture,” Baltimore, Maryland. Solo Invitational.
— “Images.” JOHNS HOPKINS UNIVERSITY GALLERY, Office of Special Events, Baltimore, Maryland. Painting. Solo Show.
1978 — KRAUSHAUR AUDITORIUM GALLERY, Goucher College, Towson, Maryland. Paintings and drawings. Solo Show, by Invitation of the Goucher College Art Department.
1977 — “Explorations’77.” THE GOVERNOR'S CLUB, Baltimore, Maryland. Santa Fe. Invitational Exhibition. Catalogue.
1975 Untitled Solo Show. THE JOHNS HOPKINS UNIVERSITY GALLERY, Office of Special Events,
Baltimore. Painting and drawing.
1973 — AWARD: Best of Show, Juried Student Exhibition. THE DECKER GALLERY, The Maryland Institute College of Art, Baltimore. Painting.
— Invitational Exhibition. THE DECKER GALLERY, The Maryland Institute College of Art, Baltimore. 2-Person Show.
1972 — An Invitational Exhibition by THE MARYLAND INSTITUTE COLLEGE OF ART, at RHODE ISLAND COLLEGE, Providence, RI. Drawing. Group Exhibition.
Each day is, as it is for most active artists, truly an adventure. And how could it be otherwise when making art is all about discovery, revelations and morphing perspectives? By no coincidence, so is Life. One is the reflection of the other. They are siblings who hold hands through adversity as well as ease. Laughter and wailing are expressed in both.
Sometimes, the overlap so intensifies experience that sense of time is lost, and realities beyond usual detection and comprehension become amplified and tangible. From these moments are born alternate universes that find expression on canvases, paper and stone. The evidence of their existence so permeates the norm that boundaries relax further, and the present is modified by the future. Options are expanded or reduced. One lives larger, or smaller. And somewhere, somehow, sometime, the mould is set with the music’s pause.
That one split second, that one quick mark on the canvas, is allowed to vibrate across time forever, embossing a rhythm on passing souls and centuries of understandings before the next beat has even become a concept to note.
Thus, Life more than tradition has easily persuaded me that it is an artist’s obvious and privileged duty to hold the space for specific visionary experiences to occur. Artists have a responsibility to stay true to the Spirit that delivers their visual message and which is allowed to govern their immediate impulses, no matter how that inspirational source may lead them to transform those descriptions; all, without allowing themselves as artist-conduits to drift into contemplation of consequences not on the table that would lead them into doubt or otherwise diminish their drive. Yet, they must at the same time remain primarily discerning, deciding from first hint of a trend, a compulsion, a call to action, if that call is credible and worthy of amplifying both within and without themselves.
For that spark - even in works conceived as studies, perhaps, for segments of larger works to come - must gain momentum and be sustained for as long as it takes to bring forward the manifestation of those thoughts into tangible visual representation. The artist must surmise how a journey might ensue and how it might transform both an exemplary painter, for instance, in the process, and the viewer in the results. In what image all are being made, being persuaded to conform and in what direction all are being encouraged become issues of primary concern.
Each artist, and, in fact, each person, is the author of her or his own life. Collective stories as well are written in detail as a people go, often expressed in diverse creations with the symbology of the relevant culture. But, the succession of individual outcomes has been essentially predetermined simply by the individuals' decisions to commit, which they based on the surmising of a future in probable odds or educated guesses … or else they desired to believe an outcome so strongly that they committed to action in spite of the odds, particularly as supposed by others in opposition.
In 1979, I made my first drawing in homage to this understanding. I used the process of creating the work, as well as the piece itself, to call in The Light for healing and enlightenment. The pen and ink drawing, “Untitled Self,” (above right) was a manifestation of my commitment to the ultimate goals, even as I was experiencing dark times of confusion and searched for a viable and honorable passage. I could sit in a room of contrary evidence and continue with unwavering faith to put down one mark after another on the filling paper at the tip of my pen. It was just as it represented: The most powerful and promising existent thing, even as a concept. It was my raison-d’ȇtre. It was my Art. It was my Story. It was synonymous with living. It was a story of becoming.
[Making art and the pulse of Life] are siblings who hold hands through adversity as well as ease. ... Sometimes, the overlap so intensifies experience that sense of time is lost, and realities beyond usual detection and comprehension become amplified and tangible. ...