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Additional Artworks

From Fulton County Public Art Program

  1. Brown-eyed Susans by Kathryn Kolb, Image 1.

    Kathryn Kolb

    Brown-eyed Susans, 2006

    photography

    35.25 x 33 in (89.54 x 83.82 cm)

  2. Be Earthing (Caversham -Personal Vocabulary) by Anna Harner, Image 1.

    Anna Harner

    Be Earthing (Caversham -Personal Vocabulary), 2003

    Screeprint

    38 x 28 in (96.52 x 71.12 cm)

  3. Birthright by Willie Little, Image 2.

    Willie Little

    Birthright, 2000

    Relief collagraph and chine colle

    26.5 x 19.75 in (67.31 x 50.17 cm)

  4. Bone Doings & Memories by Sheila Flynn, Image 1.

    Sheila Flynn

    Bone Doings & Memories, 1998

    Screenprint

    33 x 21.25 in (83.82 x 53.98 cm)

  5. Bouquet by Serdia Holcombe, Image 1.

    Serdia Holcombe

    Bouquet, 1997

    Lino Print

    8 x 6 in (20.32 x 15.24 cm)

  6. Blackjack Oak 3 by Kathryn Kolb, Image 1.

    Kathryn Kolb

    Blackjack Oak 3

    Photograph

    33 x 32 in (83.82 x 81.28 cm)

  7. Boulders Embedded, Her First Impressions Dappled in Light I by Melissa Herrington, Image 1.

    Melissa Herrington

    Boulders Embedded, Her First Impressions Dappled in Light I

    Acrylic on Birchwood

    36 x 9 x 4 in (91.44 x 22.86 x 10.16 cm)

  8. Books Flying Off The Shelf by Gregory Johnson, Image 1.

    Gregory Johnson

    Books Flying Off The Shelf

    Stainless steel with granite base

    87 x 48 x 32 in (220.98 x 121.92 x 81.28 cm)

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About the artist

Reginald Laurent

The process I employ when I paint is artistic irony at best. While the end result of all my works is a bold, colorful menagerie of movement and energy, the process I utilize to get to that point is most interesting and incongruous. My paintings start with a pure white canvas painted pitch black. The black canvas is then blocked in with random white organic and geometric shapes. These white organic shapes are then filled with various colors and lots of detail that collectively marries into one cohesive work of art that consists of every color in the rainbow, except white. I often leave my paintings in this state, marveling at the beauty of all the colors, with a total absence of white. My finishing touch is when I “sew” my works together with white “thread” that snakes through the remains of any exposed black. This thread simultaneously connects and isolates every shape on the canvas. This allows each shape to both shine on its own merit, and blend in as an integral part of the total piece.

My art imitates life because it is representative of the diversity and inclusion of every culture, the backbone of what makes the world such an interesting place. The artistic irony in my art is the white foundation that “supports” all of the colors. My canvas is the only place I know where every color can exist in perfect harmony yet maintain its own individuality. It is the only place I know where I can mix, mingle and integrate beautiful pigments of colors, and every single color has its own place and space and purpose and complements, respects and adds to the totality of the work. I try to do on canvas what we can’t seem to do on earth.
Image of artist