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The White House 2019
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67 1/2" x 52 1/2 Acrylic on canvas Painted in the artist's Key West studio. This painting combines two differing paintings in one. The strict latticework with lack of color contrasts with the lyrical, colorful bougainvillea foliage cutting the painting vertically in half.
It is the theme of a constant one voice astinnatto pattern with a light lyrical yet colorful mixture of swirling sprawling lacework of foliage.
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Heminway Hideaway 2019
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32" x 48" Acrylic on linen
Hemingway House painted in the artist Key West studio. The composition filled with geometric wedges and triangles interplay within the continuity of foliage throughout the canvas. It is all interrupted with harsh white verticals disturbing and hiding away the view of Hemingway's house. The house itself adds to the vertical and horizontal patchwork throughout the composition,
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L'arbre 2020
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86 1/2" x 76" Acrylic on canvas
The tree filled with movement within the interplay of foliage and branches with textures, movement and coloration. There is a counterpoint of the blue background branches giving another layer and adding more dimension. All this interplay of textures and layers are obscuring the view of the hazy key house. The artist abandon the paintbrushes at times and used his entire torso to add to this effect.
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Tuileries 2019
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45" x 73" Acrylic on canvas
'Tuileries' similarly painted after the original 'Tuileries, Dispute of the children after play. no. 3 from the collection of 10 paintings of artist's 'Pictures at an Exhibition'. The difference is the soft scene underlying composition of foliage broken up by hard vertical and horizontal lines creating wedges and rectangles. The lack of the human element give it a more solemn, peaceful and over softness.
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CIGARMAKER'S HOUSE 2019
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52" x 62" Acrylic on canvas
This is the first Key West house that the artist lived. This is his study of geometric composition. Shadows play lace-like on the rectangles of the house and fences. The tiny branch-work and foliage have similar more prominent lacework creating tringles against the sky. The large offensive branch cuts across the entire canvas creating a huge triangle in the sky. This forces the eye to notice the background house, and to investigate and look deeper throughout the canvas.
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Etude No. 3 2020
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60"x 60 1/4" Acrylic on canvas
This is a study of 'key light'. The 3-part composition is delineated by the lattice-work, rails, and columns. Unlike most perspective, the clearest details are furthest away, the middle is obscured by shadow, and the closest is fully obscured by foliage. Dissimilarly, the clearest and brightest as the 'key light' catches the foliage that is overhanging the entire scene and closest to the viewer.
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OLD and FORGOTTEN MILL 2017
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The artist experimented by adding and strategically layering textures of geometric, thin-paper shapes that brought this mill's wheel back to life. The overall composition mixes squares shown by the building, window and light on the building. The prominent wheel circle is complimented with circular foliage. The entire canvas is cut diagonally with 'key ligh't and shadow.
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MAGNOLIA MINUET 2019
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52" x 67" Acrylic on linen Painted in artist's studio. The house totally obscured by the light and dominance of the V-shaped tree. The small darker leaf motif in patterns dot their way across the canvas separated as if blown by the wind. The overhanging colorful magnolia branch pulls the viewer closer inviting to join in the dance. The artist/composer tried to use a slide-step-step pattern with his leaf motif in keeping with the minuet dance in threes.
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OSTRUCTION CONSTRUCTION no.2 1987
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52"x52" Acrylic on canvas Probably the worst composition with the subject matter of a tree stuck directly in the middle of the painting obscuring the beauty of the active ocean. Commissioned by the Baroness of the Chamberlain/Johnson family, This is what she wanted to have on either side of their huge bay window looking out to their beach. J Lawrence was flown to her island in Spanish Wells to do 10 paintings depicting their life on the island. Set up in their private guest house all the paintings were accomplished in 3 weeks. before flying home in their private jet, a blank check was presented to the artist to fill in.
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Duval Rue 2016
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39" x 41" acrylic on board
This is a study of 'key light' and shadow. J Lawrence moved to Florida for one reason...the effects of its light causing separation of colors especially noticeable in the shadows on objects, but mostly on flat surfaces. The direct sunlight washed out the color of objects sometime completely leaving a brilliant white in its path. JL called it the 'Key Light' because this effect was most evident when he lived in Key West. This subject matter is actually the undeveloped Las Olas BLVD in Fort Lauderdale.
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Trolley 2016
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40"x 28" Acrylic on board
This is another study of Key Light in the road and sidewalk, as well as the trees in the foreground. It was the effects on color itself and its washing-out effect yet keeping with the separation of color evident in road especially. This is the old trolley of Las Olas BLVD.
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By Our Bay 2017
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28"x 37" Acrylic on linen
J Lawrence became more intrigued by the effects of the 'key light' on flat surfaces especially with the complexities on the water. The subject matter using the bay because of its more calm flattening of the water that gave such am extreme separation of colors on the water's surface. The additional reflections of the clouds and sky adds another dimension on the surface within the light's direct effect washing out color. The background trees carry swirling patterns of color separation where the light touches them. The colors have much more strength as the foreground becomes closer to the viewer.
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Blue Heaven 2020
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60 1/2"x 48 1/2" Acrylic/paper on canvas
This is a work applying the same concept as the woodscapes except using thin paper instead of wood. Building from the distant gradually adding more paper as the water advances to the foreground where there is a heavier relief as the waves lap the shore. The idea that water is so translucent yet the reflection of the 'key light on the surface reflects the sky creating opaqueness. The challenge is with moving water and its constantly-changing appearances from translucence to opaqueness especially in the waves where adding more textures is needed. The reflecting sky also needs textures in the clouds as they have the same opaque-effect from the key-light and their natural translucence against the sky. They too are changing with a suggestive movement from the wind.
