Auxiliary facility would be one of the numerous treaties and writings on art history and try to write this text while highlighting the work of this singular artist, it also revived the writes, apparently with this in the eyes of the observer that I am an intelligent and knowledgeable on the subject, but I will not do. Some time ago I know and I follow the path to the work of Mark Lawrence, and I confess that from the beginning I was captivated with the monumental painting derives its psychological. Recognize that it is difficult to be objective when the talk in advance, since you have been seduced and captivated, but I'll try: those who know me know I do not usually beating around the bush when making any kind of qualification or trial value on any topic, and sticking to that line, I affirm that the work of Mark Lawrence is a cohesive work linked to the historical tradition of abstract expressionism. His work has drawn on the great works of artists from the past and how it should be, but the artist shows us a vision and abstraction which puts emphasis on elegant and refined and controlled the action of his brush. Your eyes perceive that serves only the essentials for any possible event. His work is devoid of gimmicks and ornaments that might promote free and easy flattering applause. His painting moved me to the realm of megalithic and by extension, to sculpture. I would even say that the strength of the author's gesture when applying paint on canvas, is similar to the force that prints the sculptor to hammer on the chisel that shapes the stone. The plasticity of this author civilizations and remind me of past lifestyles, yet, the artist presents us with a savoir faire totally contemporary feel. The color of his eyes rebelled us that the artist ends seduce. Use black color as opposed to the blanks, sometimes, makes the dark and bloody red Whites, almost funereal yellow and sickly, using latent-gray miasma whose mission seems to be to appease the tensions that might arise in the whirlwind of expression that becomes his work. In this sense, the painting speaks of an internal struggle caused by diametrically opposite moods. View a painting by Mark Lawrence, is like peering into an abyss and down the precipice. His work arouses in us feelings and emotions that do not usually identify ourselves. Imagine a social aesthetic called Marcos Lorenzo. A monumental aesthetic facades and utensils scattered in design and everyday use. An aesthetic that would unite men in the sense of emotion from which it draws. An aesthetic that is to make men and women of all races and cultures are recognized as being a Universe that has been entrusted.

Francisco González Díez, Gonzho..

The main feature is that Mark Lawrence has no aesthetic or language defined, its domestic concerns take you from one side to another abstraction. No one likes to deepen artistic discovery or discovery, always looking to move on quickly. This marked concern has been the basis of its rapid evolution and consolidation. The 39 years is shown as one of the artists with most nationwide.

When faced with the artist to the surface without a face, he undertakes an initial feeling of helplessness, doubt, indecision. Marcos Lorenzo, a Spanish painter, guess what the genuine in its pictorial sense is to grasp the essence of Spanish-that black is back to Zurbarán-and from there to consolidate work on the slick writes a story in itself plastic. He has enough security and countless other resources to address it.

No doubt that it kept you up to informality as a way of synthesis, but also abstract, and transgression designed from the ground up what comes out has the imprint of a substance for his endless desire to be, to exist. If at any given time we experience a tilt nihilistic, it is suppressed by its lack of tension and desire.

In this work, begins to consider that some corners have to incorporate other, so the trace of a white image with dirty yellow background is trapped by the black trunks of the anguish, the fear of being thrown outside, into the unknown. It may be a multiple way it undertakes a new direction from premises already well entrenched, or perhaps the end of a principle that has not yet sprouted. Probably that's the tension that needs to continue. May it be so.

I find my friend Humberto dancing on the boardwalk in honor of Yemaya. As he does he sings:

"Orun Oké orún eba my kachocho salé" (God in heaven and on earth, do not leave me alone, ampárame).

Keep dancing and twirling with his eyes closed. And as he continues to do what I lost sight of until after a few moments not descry. He's gone but I know will return.

Goyo Vigil-Escalera

If Mark Lawrence, with its really well recorded in the slant of the evening twilight, was born in Romania for five centuries, have very comfortable in dialogue with the gentlemen of the time about the enigmatic reality of terror, the somber prohibited by the words or the mammoth, dark atmosphere that occasionally breaks out between beats ochres, earth, gray and black. Mark Lawrence is a surprising artist, passionate, almost overwhelming, able to turn his soul in a real show of abstract paintings to provide a strange fascination, dreamlike and enigmatic flatly.

In their wisdom, spring universes. In their silence and waves galaxies and even aggressive resounding roar on canvas full of freedom and mystery. Something like a hieroglyph night in which the brushstrokes and arabesques, more powerful, are perfectly recognizable language of your afterlife unique and personal.

I am convinced that Mark Lawrence paints immersed in a hardly achievable autumn twilight made of impenetrable shadows never cluttered, and that while his work in dark germinated intellectual forces, then bare all to trigger a whole creative world of corporate lines of representative spots of ideas erupt soon as cataracts, to provide a work environment and well-thought lyric, from the initial to the final result.

To see the work of Mark Lawrence is necessary to have the soul in a state of grace without sound to grow fond of geometric structures, with their graphics clamant and direct their invisible spectrum where the white strips while the shadows are black delicate fabrics .

Marcos Lorenzo, in short, is an extraordinary example of a lyrical abstraction that is built from the feeling without rejecting a rigorous compositional order.

In the perfect communion of the two concepts lies the estate, beauty and harmony its unique aesthetic and furiously today.

Ben Cameselle Xesús

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