Laura Janes

Laura Janes is a fine artist specializing in painting natural forms. Her work is informed by the raw, organic beauty of the Southern California mountains and deserts. She draws inspiration from elements found in the natural world, including desert plants, trees, water, and rocks.

For Janes, nature is an endless, complex seduction, resulting in art that is always an affair of the heart, presented with attraction, enchantment, and acute clarity. She works primarily in acrylic on canvas as well as in watercolor, and occasionally creates mixed media pieces using images, gold and silver leaf, and encaustic materials. Subjects are represented in the abstract, coming to life through Janes’ signature use of amplified colors, contrast, and composition.


Johniene Papandreas

Gallery Lazzaro provides an ideal setting for Papandreas’ dramatic large-scale works that somehow intuit veiled emotions only recognized after captured on canvas. The way the artist crops an eyebrow at the edge of a painting or the fact that not enough lip is shown transforms the expression, making it sensual, intimate, and immediate.


Painted entirely by brush in casein, an ancient medium derived from milk or soy protein, the process builds visual depth without the thickness of conventional paint. The result is a soft, luminous quality reminiscent of the Masters, from whom Papandreas channels much of her inspiration.


The show features a number of distinctive series: Fixation, a series focusing on human expression; Botanica, in which the artist explores the lush mysteries of nature; Body Language, a series designed to elicit a visceral rather than emotional response from the viewer. 


David Stanton

Artist's Statement:

"Conceptually, I see painting as an organic proposition - a material organization that within its nature has the potential to address the psychology of the human condition.

The mind is wired with the predisposition to create reflections of itself.  To express and reexamine itself time and time again.  The act of painting, it seems, was invented to satisfy symbolically the desires of the collective unconscious.

I am most interested in this primal behavior, the ability to be in-touch with a fundamental archetype of expression.

Regardless of the form my work takes, the foundation is a psychological one – a purely unreasonable motivation to paint – free of a calculated process or predetermined conclusions – Free Painting.

In establishing a conduit for the unconscious mind and by using improvisation as a technical strategy I am drawn to a direct experience with the Enigma of Painting.

To then engage a viewer on a personal level, with the experience of our collective unconscious and its symbiotic nature, is perhaps the ultimate by product of the Act of Painting."


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