About Laura Joy Lustig
PAINTINGS: a retrospective, Gallery 901 (NYC) November 18, 2010 - January 3, 2011
WASH.RINSE.REPEAT: recent paintings, Merge Gallery, NYC december13th 2006- january 25th 2007
FORM AND EXPERIENCE: a retrospective, Re:place Gallery, NYC november20th 2003- january 19th 2004
Equipose: Photographs, Newburghs City Hall Lobbies (NY) October 1 - November 30, 1999
RED DOT NEW YORK 2008, Merge Gallery (NYC) March 27 March 30, 2008
AAF NYC 2007, Mercer Gallery (NYC) June 14 June 17, 2007
Finding Your Place: A Photo-Mosaic, The Art Museum of West Virginia (Roanoke,VA) October 5 November, 2006
A Forced Perspective, Bottom Feeders Studio Gallery (NYC) March 3 April 28, 2006
Gallery Art/Street Art, Gallery I.P.S. (New Haven, Ct) March 11 April 2, 2006
Small Works, Gallery 402 (NYC) September 15 October 1, 2005
CAS05, City Gallery (New Haven, Ct) September 1 25, 2005
Art 101, The Space Gallery (Austin, Tx) April 21 April 30, 2005
Art, *Art Asterisk Gallery (Williamsburg, NYC) June July, 2003
Exposure: Six female photographers, Paint Box Gallery (Chelsea, NYC) July Sept 2002
Photography, Period Gallery (Omaha, NE) August 8 October 30, 2003
Mixed media, Tompkins Square Gallery (NYC) March 9 30, 2002
Life of the city: Photographs, MOMA (NYC) February 28 May 21, 2002
Many colored artworks, Queens Museum Of Art (NYC) October 2 January 28, 2001
Y2K?YNOT2K!AQA gallery (NYC) February 26 March 11, 2000
Generations II: A Survey Of Women Artists at the Millennium, A.I.R. Gallery (NYC) February 15 March 11, 2000
II:Perfect presents IV, Knickerbocker Gallery (NYC) January 19 February 18, 2000
I:Perfect presents IV, Knickerbocker Gallery (NYC) December 15 January 14, 2000
Abstract paintings, Art Exhibition Space, Brooklyn College (NYC) October 18 26, 1999
Invitational artist series: Third Annual Photography Exhibit, Levine Annex Gallery (NY) September 17 October 10, 1999
Fall open: Multi Media Works, A.Q.A. (NYC) September 4 25, 1999
Summer group exhibition II, Knickerbocker Gallery (NYC) August 11 September 10, 1999
Personal vsion: Image and the Imagination VI, A.Q.A. (NYC) Augugust 7 28, 1999
Fourth annual arts, Holy Ghost Salon (NYC) March 7 9, 1999
First Place Prize for best mMixed media (Tompkins Square Gallery), 2002
Shaw Award (excellence in Fine Arts at Brooklyn College), 2000
Dianna and Lewis Sills Memorial Foundation Scholarship Award (excellence in Fine Arts at Brooklyn College), 1999
i believe creating art is the translation of the subjective unconsciousness onto a physical plane- no matter how aloof the abstraction is, there always is a birth place whether it is pretty or not.. the dictation is made regardless. my work often tells me how i feel. physically answering "why" to what i cannot emotionally interpret.
i started off as a poet, in love with being able to say the most with least possible space consumed. the precision was pure and the abstraction, limitless. then the spontaneity of photography hooked me.
now, it is the observed time-process of painting. often seemingly monochromatic, or simple at a distance. if then, the simplicity has properly seduced into an intimate viewing- you find a true abyss... colors you never thought there before and intricate chaos within a large tranquil screen.. it is called life. those details are called experience. these gestural interactions are private, yet reveal themselves eagerly to those interested, promised to never end up in the same space twice.
it's a dadaist introduction. little else beside the paint itself determines authenticity, allowing itself to become itself without interruptive "thought" (that has came from elsewhere, hence, has been done before) then.... more often than not, i allow the ego to step inside and satisfy conscious demands driven by obsessive preconceived beliefs of form, balance, color, composition etc. the actual editing process from here can be one mark or an entire vigorous surface wash. in the end, there are no recognizable ends. the essence is the work and the re-work, the worn, aged, peeled, scraped, scrubbed, bruised & often (literally) showered. these very physical paintings exhaust themselves to uncover their solution. the interaction of colors and marks are turned into themselves by the very act of being allowed to be themselves. watching changes as they occur with strokes taken back or movement forced over. neighboring marks integrate and fizz within a whole. nothing is fully removed without evidence remaining.
and just like these paintings, whether chaotic or calm, life too, is justly examplified in uncertainty and inevitable change. unknowingly & often- calm on the outside, chaotic on the in.