Artist's Expanded Statement
Integrity Is A Treasure For The Process of Becoming
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 as 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 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.
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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.
Artist Lisa Porter Lawrence cross hatch drawing, natural spiritual.
RÉSUMÉ, continued
EXHIBITIONS
(IMAGE ABOVE: Detail of "Lorenzo's Treatment Room," a full room mural in Santa Fe, New Mexico.)
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.
RÉSUMÉ, continued
(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.
biographical data
- (IMAGE ABOVE: Signed Giclée Greeting Card, 5½ X 7¼ inches, of an acrylic painting on canvas, "Revelation." Both commercial and fine art greeting cards will be available at the SHOP - soon.)
BIO in Summary:
Born on the Ohio River in 1950, I, with my family, moved to New Jersey when I was twelve, knowing since five that I wanted to be an artist. Getting a B.A. in Studio 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 East Coast “Art Scene” — even though on that career path, it was easy, in 1982, for visions of the Southwest to uproot me and bring me to New Mexico, where I felt "home" for the first time.
I have lived and worked here ever since, honing my craft and being richly influenced by the beautiful environment and people. I found the open skies, expansive landscapes and peaking mountains to be conducive to an open mind and heart and to awareness made accessible by breaching boundaries, stretching one’s self beyond the personal, previously acceptable norm. (179 words)
EDUCATION
While in East Liverpool, Lawrence attended the public elementary school, McKinley School, just a few blocks' walk from her home.
In 1961, Lawrence entered The Miss Fine's School, close to her new home in Princeton, New Jersey. When that girls' school merged with the local boys' school, Princeton Country Day, and became The Princeton Day School, after one year, Lawrence was sent to The Baldwin School in Brynn Mawr, Pennsylvania to finish her high school education.
In 1972, Lawrence received her B.A. with “A Concentrate in Studio/Applied Art” from Goucher College, Towson, Maryland.
Immediately upon graduating Goucher, she did a year of post-graduate study within the Graduate Program at The Maryland Institute College of Art in Baltimore and received the Award for Best of Show in the Student Exhibition that year.
Then, in 1976, Lawrence met Grace Hartigan, "Abstract Expressionist," who encouraged the young artist to join her for the two year program at The Maryland Institute’s Hoffberger Graduate School of Painting, where Hartigan was Artist In Residence. While thus enrolled for a fall semester, Lawrence also studied etching at The Maryland Institute under a separate program.
In 1977, however, realizing that her needs were different from those met by The Hoffberger program, Lawrence withdrew from that school to continue painting and exhibiting on her own.
In 1979, having become enamored of the printmaking processes, Lawrence became a participating member of The Printmaker’s Workshop Program at The Institute for continued access to equipment and professional support.
RELOCATION:
Ultimately, in 1980, Lawrence began feeling drawn away to the Southwest and made three visits there in 1981. Overwhelming visions and longing inspired her to follow through by relocating there in 1982.
Having concluded her then commitment to Baltimore and the East Coast Art Scene with her show at The Grimaldis Gallery, Lawrence bought a truck and headed out with camping gear to Santa Fe, New Mexico.
While living in various areas of the State, the artist has maintained New Mexico as her home ever sin