Please scroll down for links to portfolios of current and past series of paintings:


CURRENT WORK

FORESTS, SEAS & SUSPENSIONS
2009 - 2012Forests,_Seas_%26_Suspensions.html
KÔAN
2003 - 2005Koan.html
PAINTED BOXES
2004 - CURRENTPainted_Boxes.html
HOLDING LIGHT
2012 - CURRENTHolding_Light.html
NUMINOUS
2012 - 2013Numinous.html
WITHOUT GRAVITY
2013 - 2014Without_Gravity.html
ECLIPSE: obscured memories 

and

AMENDED MYTHOLOGIES 

2015 - CURRENTEclipse_%26_Amended_Mythologies.html

I paint. In doing so, I venture towards an intellectual, intuitive and emotional balance in a journey of self-discovery and communication with the world around me.


There is a certain seduction in becoming absorbed with the technical aspects of painting - preparing a canvas, mixing and shifting color, choosing brushes - which leads to a meditative state when I begin to paint. Both the conceptual premise as a point of departure and what is taking place on the canvas, wood or paper before me come into focus. Simultaneously, my awareness of external events becomes peripheral and secondary. 


As a painting progresses I consciously survey and re-visit details that relate to the premise that instigates the painting. This journey eventually opens doors, allowing passage into the rooms of my past; here I revisit the data resulting from research on a pertinent subject, the indelible visual marks of my history or the deep recesses of memory. Within this exploration I am conscious of adjusting paint color and viscosity or determining how a set of marks or gestures affects their placement and surroundings in terms of hue, value, direction, implication, etc… the infinite variety of choices in painting. I am always aware of what I am doing in the moment, but in this approach there is a definitive shift to an intuitive orchestration of paint. 


Experience and emotional trust allow intuition to become the primary influence in transcribing the information I process through my expanding vocabulary of paint and mark making. This occurs as a culmination of releasing intellectual analysis and by wandering through my collected memories – some of which directly relate to the painting and some that have no obvious relationship. The two are symbiotic; as I allow myself to enter the rooms of recall, the more intuitive I become in terms of painting, and the more I allow intuition to dominate the creative process, a greater confidence unlocks more of those doors, accessing memories to which I would not otherwise be conscious. The truth and beauty for me is the discovering, within the realm of hidden memories, those unbroken correlations leading to ubiquitous revelation and invention in painting.


In regards to this methodology of painting, I believe that through the highly personal, and only through it, can one enter a realm of the universal, collective unconscious and objective psyche. Through painting I am able to access and unlock or decipher the most profound personal experiences initiated by the catalyst of intellectual pursuit and translated by my vocabulary with paint, which ultimately provides my most fitting and useful means of communication.


Lawrence Fodor © 2009-12

PAST WORK