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Laurence Jansen is a London based self taught artist. An avid traveller who has gained a large portion of his insight and inspiration from travelling through Central and South America. He seeks pattern and distortion, movement and sensation in his work to portray his colourful depictions rendered in oil/acrylic on canvas, collage and mixed media. Consistently focusing on abstract and surreal ideals, his recent large pieces show a fusion of past and present studies, working abstraction and pattern with surreal scenarios that engage the viewer with the human condition of his close subjects. These scenarios often come laced with connotations of contemporary global, emotional and climatic issues.


I believe in art as an essential engagement to be used as a conduit from the mundane. It helps us to maintain our passion for life and as an expression combined with the creative process it brings one to question and expel frustrations with reality. A successful piece of art can act as a port hole or window into a world laced with connotations and mystery. This transporting effect of the arts is something that has astonished me from as far back as I can remember.

Science has been related to art since geometry. Modern scientific theories fascinate me and naturally support my understanding of a chosen artistic process. Within my work I see elements of chaos which is a fundamental basis within the process of how things evolve, known as Chaos Theory or the Butterfly Effect. Chaos Theory affects dynamical systems that are highly sensitive to initial conditions. Small variables in the initial conditions create diverging outcomes. This theory is related to the evolution of my painting. My approach to the canvas in the initial process is chaotic. I attack the canvas with blind impulses that create a sloppy and undisciplined mess of accidents. This game of chance inspires the rhythm and order that follows and is the first step to tackle the problem of the predetermined cliche. The differences in the initial conditions can be factors either within or not within my control. For example, my physical, and emotional, state of being. These are two variables which I have control of up to a point. External conditions such as tools used, (knives with distinct serrations, scrapers and brushes of all sizes, etc) give a haptic depth to the infinite possibilities of mark making. These variables create widely diverging results, rendering prediction of the final piece impossible. This is what makes the process exciting. It is a journey with an unknown destination, paints and the instruments are the guides, chance, memory and reference is the inspiration. The only pre-conceived goal is proof of the imagination. Entangled serrations that I paint with knives, create traces that form part of the psychedelic abstractions and patterns. These flowing forms portray movement and invoke sensation, the interposition of figures or figurative suggestions, allows the viewer to interpret a context from the image. This interpretation personally relates to the viewers own experience and tests their allegorical imagination.

The active field of study within particle physics known as String Theory attempts to reconcile quantum mechanics and general relativity to bring us to a theory of everything. This in short suggests the existence of several extra dimensions. I love to use the canvas as an expedition into these unexplored dimensions. I use shadows and blank profiles as slices into a fifth, sixth or seventh dimension. For example, a packaged loaf of sliced bread. Each layer of this bread is alongside the other. I paint these blank shapes to act as windows through to the next slice. They enable me to pull colours, shapes and figures through, or push them away into the distance. This creates a surreal depth of field that invokes ideologies of string theory.

The juxtapositions of figuration and abstraction, negative space and pattern, breathe sensation into the emotional memory and allow the viewer to attach past experiences, present feelings and premonitions to my work.