el ARTWORK de Laurel

la verdad es que tienes más de una razón para presumir de tu ciudad

...este video en concreto no tuve que , es de producción propia

en realidad es de la cámara de un amigo con el que estuvimos la última vez. yo hice fotos y él sacó videos, y bueno..al escuchar la canción que formaba parte de la sesión ... la impresión fantástica del espectáculo se multiplicó por mil

Gracias por las fotos leonora!! Es su hija la niña??

veo_visiones escribió:Gracias por las fotos leonora!! Es su hija la niña??

Sí veo , es su hija Lola

Laurel donó cinco de sus increíbles pinturas a una subasta de apoyo The Wilderness Conservation Trust Maasai en diciembre de 2009. La subasta se llevó a cabo durante diez días y las pinturas Laurel trajeron un total de $ 17,800.00. Aquí que pueden ver todos las cinco pinturas y una breve descripción de Laurel explicando su visión y su motivación para cada cuadro.


1.


Freedom to Love: The original painting was an emotional landscape that explored lust as a theme. It was more fiery and sensual, but lacked any imagery. It always felt unfinished to me. The painting is now more of a political statement for a lack of freedom and hypocrisy in both China and the U.S. What’s there? Maybe a skull, a woman, an American flag used as a blindfold, the Chinese symbol for freedom (distorted) and most obviously references to the Chinese flag. In some ways, for an abstract, it is quite literal and full of rage. It was hard not to soften this painting. It’s very out of my safety zone. It reminds me of an old beat-up Grateful Dead T-shirt I had in college, so it’s a bit “rock and roll”. I was inspired by some of my Chinese fans that have sent me heart-wrenching letters over the years, and the ones that traveled to London and Paris last year. So, I dedicate this to them. My father recently spent a month in China, and if it had worked out with my schedule, I would have loved to have gone with him.


2.


Hidden Treasure: Like many of my paintings, this one has many layers. Sometimes I come in with too much emotion and I get rather impatient and then I get stuck. I guess you could say the painting has to dictate where I should go. In this case, I was painting a series of female nudes that was borderline pornography. The final image was so disturbing due to the position of the subject in the photograph and an intense amount of pubic hair. It just embarrassed me because I was going for something raw and it was painfully contrived. So I immersed the subjects’ genitalia in a watery grave. The gold was already in the painting. Put whatever value you want in that. I basically turned the landscape of her body part into a landscape of the bottom of the sea, which in turn reflects back to growth and birth. I love blue as a color, as it represents a male principle in painting. I find it calming and spiritual.


3.


Loss of Identity in a Relationship: This painting explores the loss of identity in a marriage, partnership, motherhood or at any time in life when we are most lost. There’s something soul scraping about the pain it causes. It could be the subject’s loss, her partner’s loss, or both. The painting itself is a blend of styles and even loses itself at times. I didn’t use a subject like I have in the past (i.e. a photo or model). It would have then started with an identity. I feel completely numb when I see paintings that focus on a photo authenticity of its subject, although I respect the skill it takes. I want to walk through the door of the artists’ emotional life–which to me comes from their interpretation of the subject or their lack of subject–or better yet, I want the image to provoke emotion inside of me, to open a door into my own pain or joy. It’s the first painting I’ve shown in its process. I can’t say it makes me comfortable, and that may also be in the painting a bit.


4.


The Redhead: This was the last painting I painted. My subject, a photograph, was sitting inside on the stairs. It was, at the beginning, an exploration of grief. I never intended the figure to be outside-it just grew that way. In fact, she was initially seen through a window. I painted her through the frame, but the window looked like a jail to me so I painted it out. Once she was outside it became more mystical. My daughter insisted I add the moon because she looked so sad and the moon would cheer her up. I had to agree because sleeping under the moon and the stars is one of my favorite things to do.


5.


Unconditional Blonde: When I first painted this it felt like a possible self-portrait. When I finished, it was so obvious it was about my mother. The images, to me, needed to be nude and slightly abstract, yet with movement to capture the emotion. My mother’s influence on me is quite enormous. I’ve watched her get her hands dirty with volunteering and charity causes my entire life. She has also taught me the value of affection. I really wanted this painting to capture the parent-child intimacy without putting a direct face on it because in my mind, it’s so visceral (sometimes words cannot describe it). It’s one of the reasons the baby image is reflective of a bear cub because I feel the nature of the intimacy is so animalistic.

‘Tribeca Loft Series’ Paintings (2010)

Laurel spent the summer of 2010 in New York, where she spent 3 months straight painting for 40+ hours a week, creating a spectacular portfolio of large-format abstract paintings that have garnered some serious art-world attention. She named the Paintings ‘The Tribeca Loft Series’, because she painted all of the paintings in a loft she rented in the Tribeca, New York area.

“’The Tribeca Loft Series’ captures a challenging, yet productive time in both my professional and personal life. The series basically chronicles a lovely re-introduction to my favorite city, New York, and a newfound strength and independence. I don’t know if it was conscious or not but I created something that was really close to what New York felt like for me when I first moved there when it was all about acting and independent film and theater. This time it was all about art.” -Laurel Holloman-





She Burns My Eyes - "is a more literal painting, with yellow and traces of orange. It wasn't even an abstract painting but a full on nude. And I wanted to pull it out as if she was fading into the background. I left the yellow at the top, as if she was being liberated in some way. The pencil marks are still there, the original trace of the subject touching herself and all that.

I felt like this painting was a little bit too photo-authentic, a woman masturbating, and I didn’t want that. I wanted something a little bit different. I kept the yellow on her neck and face because I just wanted her to be liberated of some sort, like free her or something, because that’s what I was looking for." -Laurel Holloman-






Swan Dive: "started in a more photo-authenticity way, where it was a woman who was diving into the water, her wrists were bound. I painted her from a skeleton frame first; I studied and sketched all these skeletons. The whole rest of Swan Dive I was scraping her away and then a series of glazes that went on top of her.

If you see the painting in person you can still make out her rib cage and her wrists. I usually start with something more literal and I pull it back, and you’d have to look for it. Or there is poetry inside it, underneath or sketching."
-Laurel Holloman-





Lyric





I Walk Alone











Lush




On Fertile Ground




Bullet




Enlightened




Untitled Green




And I Love You

video realizado en el estudio de Laurel

FEELING ART