Iran Lawrence Abstract Fine Art  

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Art /Abstract Art / Abstract Expressionism / Abstract Expressionist Painters Creative Influences

Art / Abstract Art / Abstract Art Painters / Abstract Art Expressionists / Abstract Art Expressionist Painters / Geometric Abstraction Artists / Abstract Expressionists of the 20th Century / Abstract Art Artists and their creative influences on developing my own aesthetic signature.

                                                                               Creative Influences   

    My work, while essentially rooted within my Persian heritage, it has become an aesthetic synthesis further inspired by several masters of the 20th century. My earlier interest in Japanese art of Ikebana (the art of Japanese flower arrangement), and Bonsai (the art of training and pruning miniature evergreens) opened my eyes to a very serene spectrum of the art of Japanese gardening, when I lived in Japan. Their design principles and architecture led me to become fascinated with modern classic design and architecture, especially the works of 
Frank Lloyd Wright in the early stages of my career as an artist.  

    As I further pursued my interest in art, the color relativity of Joseph Albers, the intellectual calculation of geometric abstractions and how to work with color values to give the illusion of movement and the changing of hues and sizes of spatial relationships to convey depth and a luminous quality proved to play a significant role in my artistic development.

    The color gradations of Victor Vasarely contributed largely to my better understanding of color. As I continued to evolve, I learned the simplicities of expression from the color-fields of Mark Rothko and Barnett Newman as I understood the conceptual aspects of expression in the works and stains of Helen Frankenthaler. I later became very intrigued by the textural qualities of Gerhard Richter and the fluent beauties of Georgia O'Keeffe.

    As I transcended from representational art to abstract expressionism and abstract paintings, the pouring, spattering and gestural painting of Jackson Pollock taught me the magic of spontaneity, but I found the fluidity of Sam Francis more inspiring. The printing and the absence of control in Robert Rauschenberg’s work taught me how to leave plenty to chance for the sake of discovery, as the philosophy and teachings of Hans Hofmann created a new awareness in me to better appreciate Nature as the greatest and most inspiring Art and Artist.      

    It was the end of my graduate studies that I came upon the rediscovery of my love of philosophy, particularly applied philosophy that submerged me into the whole new realm of introspection with a whole new viewpoint which philosophy had provided for me to re-examine the life around me and discovering myself within a whole new universe; a place where suddenly I could see and perceive the truth as it was, rather than what others had presented to me; a new insight  which led me to inspect and reorganize my life physically, spiritually and intellectually, resulting in a whole new level of calm and resolve, which was missing and incredibly enlightening to have.   

    And later, my good friend and a true teacher, Homer Mitchell, also a Yale gentleman, who had worked closely with Albers, reintroduced me to 
Johannes Itten as a master at Bauhaus. He subtly and inspirationally led me to tap into the variety of skills and abilities I had acquired over the years - the very skills and abilities that Itten had considered very crucial in developing and mastering the creative genius.  

    It was about this time when I had also found 
Paul Jenkins's pouring, washing and absence of brush strokes in his paintings; another creative influence providing the very additional freedom of expression I needed badly to arrive where I felt most comfortable artistically. 

    Restudying Itten’s dynamic principles of teachings at the Bauhaus was a new awakening for me and tremendously enlightening. Particularly in overcoming all the criticisms I had received throughout my life for "Not having a focus" due to being interested in "Too many things." I became justly appreciative of the virtues of Itten’s teaching philosophy of acquiring skills and refinement in a variety of other fields to master the ability to create effortlessly from memory and inspiration with certainty. 

    Thus, it was through Homer’s gentle inspirational guidance that I truly grasped and ascertained a better critical aesthetic sensibility by weaving a durable cloth of creativity from the threads of skills and know-hows I had passionately acquired in my journey to unfold and evolve as an artist. And for that, I thank him dearly!

                                                                                                                              – Iran Lawrence

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Here is a brief summary of my creative influences from representational art and paintings to abstract art paintings and or abstract expressionism paintings. For me, evolving from representational art and paintings to abstract art paintings or abstract expressionism paintings was a gradual process. Studying about various forms of art, particularly abstract art and abstract expressionism art is one thing, but maturing to the level of indulging in creating abstract art and abstract expressionist art competently is another thing. Here I can say with certainty, that learning about the "pouring and spattering" of Jackson Pollock, textural and smearing qualities of Gerhard Richter and Sam Francis, soft fluidity of Georgia O’Keeffe, pouring and staining of Helen Frankenthaler, the "Push and Pull" of Hans Hofmann, geometric abstractions and color relativity of Josef Albers, the Preliminary course of Johannes Itten at Bauhaus School of Art, the pouring and absence of brush strokes in Paul Jenkins paintings, the textural, printing, absence of control, and collages of Robert Rauschenberg, Color-Fields of Mark Rothko and Barnett Newman, color gradations of Victor Vasarely, color relativity og Josef Albers were the various significant influences from these masters of the twentieth century, from the arriving and flourishing era of abstract expressionism that collectively have contributed to my evolution and development of my own signature as an abstract expressionist painter. 

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