Process: printing paintings by Laura J. Lawson

Sometimes I print my river-based or border-based landscapes on metal using a process called dye sublimation. This process, often employed in commercial photography, is an image transfer technique that applies gaseous inks into the surface of the aluminum, rather than laying them on top like a printer. Beyond that, I'm not an expert-- this is something I have fulfilled by a print company after I scan my paintings at a high resolution. The result is a large, high-gloss image that reflects light and color in stunning detail.

So as a painter, why use this process at all?

First, it's important to understand the painting process of these works. Essentially, I work with pigmented ink on a nonabsorbent surface, and the settling of that pigment creates the textures of my landscapes. These tiny mounds of pigment are smaller than grains of sand. The images at the top of this post, in their original painted format, are all eight inches or smaller. Even if I paint larger sheets of plastic-- say, 20 inches-- the settling of the pigment does not appear any larger. If anything, the larger I go, the more they get lost in the composition.

At close range, the specks of pigment can feel monumental, like observing the landscape from an airplane. Unfortunately, an eight inch painting on the opposite side of the room does little to amplify that concept. By treating the painting like a photograph and enlarging it into a print, the minuscule hills and valleys can be seen at a larger scale.

Process: Marnay by Laura J. Lawson

  Marnay , 200" x 80", acrylic ink on polypropylene, 2016.

Marnay, 200" x 80", acrylic ink on polypropylene, 2016.

Marnay, the piece pictured above, is one of my "atmospheric view" paintings. Totally abstract, the piece narrates what my summer in Marnay-sur-Seine, France, felt like as an immersive experience. This was a two month artist residency at the Centre d'Art Marnay Art Center (CAMAC).

Each morning, I woke early in my comfortable but cell-like room, crossed the 16th century priory through the library, and greeted the Seine on my walk to the kitchen for breakfast.

My Junes were always sweltering and oppressive, but these mornings were chilly, wet, and quiet. The Seine was murky and impatient, much like my Mississippi back home. Even when the sun reached its zenith, its rays were gentle, warming, and meek.

As the days passed, the Seine's flooding subsided, and river's sediments settled enough to restore the water to jewel-like brilliance. Wildflowers popped up in gardens and in gravel. The sun visited for longer and longer, with impressive sunsets past 9pm.

Everything about this place felt enchanting. The light felt more diffuse and sparkling. The persistent grey sky made every leaf and flower pop like an hallucination. There was nothing rugged or tough about the rural way of life-- even the cows were polite and content.

All of this went into my work. I matched my inks to what I saw-- the changing river, the plants and flowers, the cobblestones and tiles, the soil and sand-- and began to piece together how it feels to be wrapped up in all of these sensations at once.

The lightweight Yupo-- which I bought specifically to be plane-friendly-- was the perfect choice for representing this place. It flutters when viewers walk past it, and there is some hint of an iridescent sheen to it, even when saturated with ink. Compared to my other atmospheric paintings, it is weightless and unabashedly colorful.

This residency had the dépaysement I was looking for. CAMAC gave me the space and time I needed to work with a clear mind, and Marnay-sur-Seine gave me a landscape unlike any I had seen before.

Elements of Place: gallery views by Laura J. Lawson

Elements of Place was on view at the Dennis Gallery at Austin College in Sherman, Texas from October 9th - December 8th, 2017.

Austin College press release

The Austin College Art and Art History Department will host the exhibit “Laura J. Lawson: Elements of Place” now to December 8 in the Dennis Gallery of the Forster Art Complex, 1313 N. Richards Street, Sherman. Gallery hours are Monday through Friday 9 a.m. to 4:30 p.m. For additional information, call the Art and Art History Department at 903.813.2048. The exhibit is free and open to the public.

Lawson lived all over Texas growing up and frequent family road trips fueled her love of exploration. While earning a bachelor’s degree from Austin College, her studies took her to Scotland, China, France, Peru, and Ecuador, and she traveled to New Orleans and Chicago after graduation. She earned her MFA from the University of Memphis and spent two months in residency at the Centre d’Art Marnay Art Center (CAMAC) in France. She has since returned to Dallas.

Her residency on the banks of the Seine in Marnay-sur-Seine helped Lawson explore ways of thinking about place. Though nearly 5,000 miles away, the area sometimes reminded her of American towns she knew, including Sherman. Rather than create works about the people and cultures of the places, she was compelled to investigate the physical landscapes, which existed before the places were ever settled. The places are examined in her exhibit through a satellite view, an atmospheric view, and a navigational view.

The satellite-view paintings explore how land and water shape the landscape and form significant relationships for these regions: the Seine is a major artery for France, and the Red River feeds the Mississippi watershed. The atmospheric paintings investigate Lawson’s personal observations of being present in the place. The colors and patterns tie directly to light, water, soil, building materials, wildlife, and other elements that make the area what it is. The navigational view uses regional maps that Lawson has cut into miniature webs of roads. These sculptural drawings highlight years of human effort to make these regions both navigable and livable.

“Ultimately, the physical elements that make up Sherman and Marnay-sur-Seine are the seeds from which their people grew,” Lawson said. “Cultural ways of living can (and should!) cross borders, but the landscape itself can never be truly replicated.”

 

Photography by Mary Cyrus Photography.

Depaysement: gallery views by Laura J. Lawson

Dépaysement was on view at the Fogelman Galleries of Contemporary Art at The University of Memphis from October 21st - November 4th, 2016. 

The University of Memphis press release

Dépaysement is the MFA thesis exhibition featuring the work of Laura J. Lawson. Dépaysement, a French word with no direct English translation, describes the feeling of being out of one's home country. The exhibition addresses her three years in Memphis contrasted with her recent artist residency in Marnay-sur-Seine, France.

Lawson's paintings are made with ink on translucent plastic. The result resembles cartographic endeavors, separating the viewer from each place with an aerial perspective. Her two largest works layer these paintings in front of cut paper maps in a grid formation, creating shadows of highways beneath the landscape-like surface. In other works, Lawson has drawn directly on the painting to mix the universal qualities of topography with the arbitrary shapes of borders and roads. The color palettes of all of these paintings are specifically derived from either Memphis or Marnay-sur-Seine, but the characteristics of these places become lost in the similar and strange elements of geography.

 

Photography by Katherine Stanley Photography.

Why I married my MFA by Laura J. Lawson

I'm sure you've seen it by now: portraits, like mine here, of an overjoyed person batting their eyes at a degree, major project, or job offer. I don't know if it's overdone yet, but I'm in favor of it continuing. I've seen way too many friends and peers quietly accept their masters or doctorate to little fanfare; business as usual, no big deal. 

It IS a big deal. 

Getting any degree is a big deal. Particularly with grad school graduates, it seems to me that they finish, heave a sigh of relief, and resume taking care of the baby, the job, the housework, and life as usual, as if an MBA was on the grocery list.

Great accomplishments deserve celebration. Easy enough; just throw a party. Why marry it?

I do not always adore what I do. I have days where I wished I didn't have this stupid calling, days where I want to go out on the town or binge watch TV without the guilt of needing to get up and work. Acquaintances ask why my "hobby" takes up so much of my time, and I wonder if it's a fight worth picking. But I also have days where I am so grateful to have this thing that brings meaning and joy to my life, even when it's hard or thankless. For better, for worse, for richer, for poorer, in sickness and in health, until death do us part. I am and will always be an artist. That's my commitment.

I had a professor say that something like 90% of art graduates don't continue to make work after graduation. I looked for real statistics to cite, but I couldn't even decide what parameters to put on the data. Does it count if you show work without selling it? Does it count if you make work without showing it?

Regardless of what the numbers are for everybody else, I made my goals and remain devoted to them:

  • I will make art.
  • I will show my work.
  • I will be unafraid to push my work to new limits.

My MFA taught me these habits, which is why I wanted cement this relationship as a lifelong commitment.

A major criticism of appropriating marriage to celebrate a vocational milestone is that to some, it undermines the celebration of marriage between people, especially if I want to tie the knot later. No, I didn't have to call it a marriage. A lot of people getting these grad school photo shoots are simply emulating the over-the-top celebration without wearing their hot-glued wedding bands everywhere they go. 

I've thought about this a lot, and this is where my personal priorities lie. I have an amazing partner, and he understands and supports my commitment to art, in part because he's equally committed to music. We labor at our day jobs, and help each other when laboring at our creative jobs. He and I are the kind of people who are not hurt by what art asks of us.

I hope to see others publicize their commitments to what they love, and not just who they love. It's a great opportunity to share how things work in your field, especially if it's different from what your family and friends are used to. What do you love?

Upcoming exhibition: Elements of Place by Laura J. Lawson

Lawsonpostcardfront.jpg

Elements of Place
Laura J. Lawson

October 9 - December 8, 2017
Forster Arts Complex Dennis Gallery
1313 E. Richards Street
Sherman, Texas 75090

Artist reception October 14, 6 to 8 pm.

Austin College will be celebrating its Homecoming and Family Weekend as it hosts artist and alumna Laura J. Lawson for an exhibition of her latest work, Elements of Place. An opening reception will be held the evening of October 14th from 6 to 8pm, free and open to the public.

Cutting paper: a love story by Laura J. Lawson

chinapaper.jpg

Of all the tactile pleasures I can think of, interacting with paper is among my favorites. Paper is as varied as food: slick-coated candied magazines, paperbacks with soft pastry pages, hot white copies sizzling with toner, tea-colored lines steeping secrets in a journal. There is no repulsive paper.

I spent years drawing, folding, writing, painting, rolling, and preserving paper before it ever really occurred to me to cut. In graduate school I eagerly signed up for Art of the Book. Cutting signatures and stitching bindings was worth the cold reality of 8 am class. One of our first lessons was how to make a simple 16-page accordion book out of one sheet of paper.

That did me in. A single page was transformed into a book with a few folds and snips. It's not the most elegant kind of book, but this change into a new object had me hooked. What else could be done with a single sheet?

I can't remember the guidelines for our first project, but I could not let go of the idea of the single sheet transformed. I wanted to go beyond making content with pencil or ink. The pages alone had to carry their weight. So, I cut into them.

islampaper.jpg

To express something big in a modest project, I chose to illustrate the use of paper across continents and time. Of course, this is an extremely long and varied history-- far too complex to really explain in a picture book-- so I picked four places to highlight.

europapaper.jpg

After folding and cutting a sheet of drawing paper into the accordion book, I found that the structure of the paper would allow me four two-page layouts. Rather than pack in eight places with questionable identity, I chose to work in the style and language the paper was used for. 

americapaper.jpg

A real historian of paper might have some advice on locations, and native readers of Mandarin and Arabic may have some corrections for me, but I was more concerned with my due date. The four places I settled on were China, Iran, Germany, and the United States. The written titles are a bit more generic: I opted for something like "the Islamic world," as well as Europe and America.

It's not a perfect project by any means, but unpacking it recently was a welcome surprise. It's a clear link between my past and current work. I did a few other projects where I cut my own drawings, but doing this piece ultimately led me to cutting up maps to explore my biggest obsession-- the human experience of place. Erasure by knife and the transformation of the object created a huge breakthrough for me, and over 100 X-Acto blades later, I'm still making discoveries with it. I'm excited to see what comes next.

What is depaysement? by Laura J. Lawson

I titled my thesis exhibition Depaysement. Said exhibition was held in Memphis, Tennessee, where French is not the lingua franca. I dedicated an entire section of gallery wall to the definition. Why bother?

The exhibition was the product of my experiences after three years of study in Memphis, and a two month artist residency at the Centre d'Art Marnay Art Center (CAMAC) in Marnay-sur-Seine, France. I wanted to take a deep look at the concept of the identity of place, and I did so by investigating the landscape through color, pathways, borders, and cartography.

As an undergraduate, I spent a semester in Paris, and gained what I'll call an academic fluency with the French language. (Fluent enough, but not confidently bilingual yet.) My favorite words to learn were the ones that didn't have an English equivalent. Depaysement. The feeling of not being in one's home country. What is that, exactly?

The odd thing is, by returning to France for the CAMAC residency, I was essentially returning to something familiar. I spoke the language, navigating nearby Paris was already easy for me, and there were few surprises left when it came to cultural differences. Still, the light and air were different, and invisible particles seemed energized in different wavelengths. Time ran at a slightly different speed. Even on days when I felt terrible, I could still delight in how normalcy was never quite normal.

The depaysement in the French countryside reminded me of the almost imperceptible differences that continued to permeate my life in Memphis. Despite moving frequently, most of my youth was spent in Texas. Southern culture covers a huge swath of states, but beyond slightly inferior BBQ and sno-cones,* there were still peripheral and atmospheric qualities that would never be identical.

I really saturated my mind and body in these places. They were a little familiar, a little strange, and had more in common than I could have predicted. It's invigorating to be depaysee, and these questions and memories continue to drive my artistic practice.

*I'm sorry, Memphians; "excellent" is still one rung lower than "best."