Artist Lauren Ennist

An example of fine art by Lauren Ennist

Photo of Lauren Ennist

The Artist Says:

    Contemporary painting has been taken over by agenda: gender identity, politics, environmentalism, consumerism, cultural identity. I want my viewer to experience paint and not ponder agenda.  My paintings are first just paint, and then organized for nonverbal communication.
    Painting is more then joining words together to communicate. I combine brush stroke and color to make new information. Images are more then words. My painting’s elements are larger then text and used for experiencing an individual (subject).
    Painting is a way for me to record how I see, considered and connected to what I feel. Painting allows me to recover thoughts and create new things. 
     My work is, ultimately, just paint. Paint is tactile. Enjoy it on that level. Touch only with your mind and eye.

Collectors Say:

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Other Artists Say:


 “Most of what we see today is called ‘conceptual art’ when it’s really ‘academic art’ because that’s how people are taught to make art in the schools… The problem with an academic approach is that it often takes meaning as the generative point of art.”[1] The piece, then, must conform to the concept. Fecteau continues, “Most of the time we do not expect absolute coherence, however with art people seem to expect… it to confirm some sort of stability or completeness. Or to confirm that there is a purposeful narrative to life…there is such a resistance to messiness.”[2]
 Artist Statement
     I am primarily a portrait/figurative painter. My work does not begin with a concept, it begins with infinite opportunity, (“bits and pieces,” “control” and “chaos”[3]). My work is not busy with a conceptual notion of contemporary portraiture. Its concern is not the uniformity of a concept; rather, my work is concerned with diversity of intuitions. Concept gets in the way of decisions budding from “deliberate and unintentional”[4] painting, searching for equilibrium between paint and subject. The subject “with the tremendous effort involved in simply being, in having this skull and those eyes and this mouth and this flesh (all invisible to oneself) act as one’s own chief representative.” (Freud qtd. in Smee 52)[5]
     “Many critical approaches today maintain that a work of art is only interesting when it fulfills a conceptual direction or exemplifies a topical or theoretical issue. There is something that troubles people about art that doesn’t turn out to be conceptually buttressed in someway.”[6] A Portrait (likeness) does not have concept to validate it.  It is an individual's likeness arranged by visceral and cerebral means. I use oil paint as the equivalent of flesh molding volume and rendering flesh in its contrasts of texture, density and pellucidity. Paint is the [...]

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