Figures emerge from the grain of the wood in these subtle works created with oil paint and stain on wood panels.
Figurescapes are afusion of landscape and the human form. Through them I strive toward oneness with the terrestrial divine. They impart the canvas with a collective sense of earthly elegance and mystical grandeur.
“The light seems to emanate from everywhere on a timeless, light-filtered, cloudy day. Bare trees repeatedly populate her images and sometimes act as a linear foil to her figures…. Following her academic training and assimilating two genres, she uses art as a means of self-discovery and exploration.” – Ron Schira, Reading Eagle Corrospondent
I believe an artist should not be limited to one medium. They should stretch out in any direction they wish. I relax my mind by playing freely on my 1870s etching press which itself is so versatile as to be able to accommodate a 1/2 inch wood block or a sheet of acetate!
I have tried many printmaking techniques to good effect. I enjoy monoprints the most!
The Rakuins I create come from a place where I imagine a peaceful people who live by the sea.
The raku process by which low-fire clay glazes are oxidized in uneven fiery conditions and then plunged into cold water to stop the reaction makes each one individual and somewhat unpredictable.
These landscapes are my vision of humanity in the natural world. I believe in the necessity of living in harmony with nature. Through these sublime fusions of the human body with the earthI express that belief. There is an inherent oneness in all things and I make that as a physical reality in my work.
Capturing the human figure in motion in line and paint has become a lifelong love. Dancers provide an endless challenge to capture their grace and movement in line and paint.
Visual Jazz Sketches
Visual Jazz: The Band
Betts, Carlino, Homan, Wicks
I revel in the pursuit of capturing figures in motion. It’s a challenge. There is a high rate of failure; however, it is incredibly rewarding when the lines convey the movement, the moment, the expression of another’s artistic performance. I feel if I can capture a bit of the energy, and spirit of the artist on paper, I have succeeded!
I love the quality of line; Weight, speed, direction, simplistic and complex, even implied. To that end, I incessantly draw people from life in real time. As a result of the habit of drawing at all times, last year I became a part of the Visual Jazz Project that John Elder has been working on for nearly two and half years. He invited me to come hear this amazing band and witness the rather unique photographic technique he was exploring. I was impressed by his dedication to the pursuit of the fleeting moment, the capture of the essence of music on film. I watched a while and then pulled out my sketch book and started to draw the members of the band while they were playing. It is my custom that each drawing lasts only as long as the music plays, when the song is over, so is the drawing. At the end of the set, John came over to see what I had been doing and, after perusing my sketchbook, asked if I would be willing to join the project by contributing a dozen drawings. I said, “Yes!”, and so began my pursuit of what would come to be Visual Jazz: The Band |Betts, Carlino, Homan, Wicks.
The project has grown for me over time from just a dozen sketches to 35 enlarged drawings presented as giclee prints on 110lb. Bristol paper in editions of 10. I chose to enlarge the drawings to better show the line quality hidden from view in the original 2.5” x 3.5” and 5” x 3.5” drawings. Those that were chosen for display are from over 350 original drawings in my sketchbooks drawn with a .005 Micron on 100lb. Strathmore paper.
As time went on, I found a most unexpected benefit of the project. It was necessary keep to drawing, even after having captured a moment or band member well several times, to continue the project. In order to do that, I set forth objectives for myself. I would approach the subject in different ways; a new angle, a different technique, varying line densities and speed. This pushed me to produce a variety in my drawing that was exciting to me and might not have otherwise occurred had I not pursued the project over the period of a whole year.
The whole experience has been a great artistic collaboration and adventure. I have become a groupie for the band (attending over 25 performances), formed a strong artistic partnership with John Elder based on mutual respect and objectives, produced a body of work I am proud to share with the world and made many interesting new friends along the way.
Lauralynn White, March 2016
El Paso, TX
Sometimes the light and color of a place just consumes me. Such was the case in El Paso, TX.
I have been greatly influenced by my time in Chautauqua Institution. I've spent time thereeach summer since 1992 . The dancers, music, the light on the lake, the lectures, the classes, the dancers..
Reading to Reutlingen
As an artist of German heritage from the Reading, Pennsylvania area, I wanted to celebrate the commonalities of our landscape forms with that of our sister city Reutlingen, Germany for the exhibit From Reading to Reutlingen & BACK! Many Pennsylvanians of German heritage settled in the rolling Pennsylvania hills because they felt it kindred to their homeland. As I am quite familiar with Reading, and only marginally so with Reutlingen, I felt it would be a tremendous challenge to immerse myself in the landscape of a foreign, yet familiar, land to find my own connection with it. Considering I am primarily known for my paintings done from knowledge of self and plein air studies, Figurescapes are the means I chose for expression.
My figurescapes are a fusion of landscape and the human form. They combine earthly elements and the mystical to express oneness of humanity and environment.
I believe there exists an inherent oneness in all things and that it is necessary to live in harmony with the natural world. This informs my vision and I pursue it as reality resulting in the fusion of the human body with the environment in my oil paintings. I imbue the figures with emotion by the attitude of their pose and the use of a palette that gives greater power to the work.
“Distances is an exploration of the space and time between one place and another. Distances can take many forms: the physical measurement, the journey to self, a separation from understanding, emotional estrangement or simply the road leading us forward. The works in this exhibit are an exploration of my fascination with these varying concepts of distances.” –Lauralynn White, January 2015