Examples of Types of ARCHIVAL Prints/Giclées with Pigmented Inks

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The first horse the artist owned was a former rodeo horse, named Shaker.  An apparent stranger to hugs, Shaker seemed confused by the artist's. But the two became fast friends.  She was ever confident setting out for eight hour rides alone through the wildnerness, trusting Shaker's sure footing to carry her through environments of forest, shale and cacti.  Only one time did he buck, and she knew it was about something he had seen while she had not.  It was a short dance.

Inspired by northern New Mexico stellar night skies and the profound fellowship of personable horses, this image remains one of the artist's favorites.  To start, she painted  on canvases from a folding chair in the center of a corral of horses, used to running wild and only periodically herded back to the ranch.  The horses formed a circle around her.  Snorting, the lead mare pawed the ground. But, even she soon quieted and just stared right back at the artist for the entire time she sketched. 

Being spiritually minded and also surrounded by horses, it seemed natural to the artist to express the concept of a multilayered created universe of diverse migrating life forms in terms of what was at hand.  Here, worlds within worlds travel at least at the speed of light to dazzle the eye and blow the mind of all biases to the contrary.  Appearing as participants in a divine game of pool, conscious hubs of activity accelerate through space.

"Floater" was inspired by what some might call a "dream voyage" the artist took over the canyons of northern New Mexico.  As the artist was concerned, it was a very real event.  She could feel the soft air on her skin and recognize landmarks below.  Shortly after realizing she was in flight and setting her course down the canyon, however, her mind lost conscious connection.  She did recall the event in the morning and painted this image to commemorate it.

Lawrence began life in the company of odd creatures, as most children insist to their parents that they do.  One such entity was a "troll," who lived in the attic.  But, there were others.  This image depicts the artist as a wide-eyed toddler, beginning her life's journey on earth, encountering a symbolic composite of the many strange beings, most of whom remained transparent as ghostly figures, seen best when looking to their side, rather than straight on. Nothing much has changed.

This image was inspired by years of sensing a supernatural depth to the experience of horseback riding through the canyons and mesas of northern New Mexico, The Land of Enchantment.  She found this quality enhanced in particular individuals and often with due cause. 

The commissioned work, "The 'Wright' Place," began with the client's desire for something similar to photos she had seen of the artist's expansive mural, "The Waterfall," yet with a more intimate feel for her office.  Lawrence proceeded by sending her client emailed progress photos as the acrylic landscape (36 X 48") revealed itself under her brush, including 3D grasses in the foreground. The client, going through a private journey, related strongly to the floating leaf and to the work's title. 

The butterfly takes flight to leave a familiar interior to explore the "wild frontier" of outer space, which has mysteriously defined the boundaries of home all along.  Describing a rich spiritual life, a metamorphosis has afforded departure into other realms. Not about arriving, but about leaving.  Hope abounds.  It is a leap of Faith that hints at a possible adventure for Earth herself and all inhabitants, as elements from space beyond mysteriously appear and zip by the window's view.

"Pregnant Rose," as a 4 X 4 foot stained canvas now in private collection, was executed with a water based medium on raw (unprimed) stretched canvas, a method that left no room for error.  The imagery combines the natural exuberance of living sacred spirit (represented by the rose) with the physicality of human experience in this world (represented by the human torso and environment).  Often an awkward aligning process today, it is still extolled as a means for finding peace with All That Is.

Inspired by an actual bloom, this portrait evolved into a classical rendering of the concept of Love as eternal beauty, emanating warmth and being radiant and lovely.

Inspired by the gardens she grew in Las Vegas, New Mexico and by childhood memories of her mother's, Lawrence created this surreal image as if being small and wandering with wonder through the moonlit forest of leaves and flowers, climbing over downed stems and almost expecting to encounter fairies in the midst.

Nearly popping off the canvas with enthusiasm, the character flower seems to wiggle toward the prescribed boundary of the inner painting, making its way to the outer edges of the entire work.  It is hard to tell whether art imitated life in this case, or the artist's own joy was animated in the process of making the artwork.  Either way, it is Exuberance in action!  Hand embellished with Metallic Gold Paint.

The original acrylic painting, after which this giclée was made, was begun by pressing lace into the medium-coated canvas and allowing for the predetermined garden theme to reveal evidence of itself to the artist's imagination.  It grew from there to become a woven maze of garden activity.  It was conceived as part of a group of works that were  exhibited during a luncheon for garden tour in Las Vegas.

This iconic emblematic rose has the feel of pink skirts, animated in dance yet stilled as a mystery, revealing herself.  It emerges from within a framework of simulated hammered copper and cosmic paint debris and seems to be endorsed by royalty for all its embellishments.  It is highlighted and embellished with copper and gold metallic paints.