For example, a painted version of an image can be made
in a variety of color schemes and sizes, with no change in
the graphic composition. The only certain constant is in the
initial choices of what to sample, and how to present a
personal response to it. What ensues is a variety of equally
valid images that will fit into many environments, with their
own sense of space, and color schemes.
A pottery commission  kept
Lawrence very busy for three
months in the summer of
2006.  It was for a hotel in
Myrtle Beach, South Carolina
that needed large pots for a
decorative niche in the rooms.
 For this, the 25" tall pots were
coiled, bisque fired and
smoked with "cloud-patterns"
reminiscent of Japanese
zen-oriented revivals of
ancient Jomon wares.  The
pots received a final covering
of beeswax applied to the
cooling pots with a big
hakame brush.  104 pots were
shipped in early September.  
As it was necessary to
complete about 20 pots a
week, Lawrence became very
proficient in the timeless
method of "coiling" as a
pottery-building method.            
       
Since 2005, Lawrence
has increased his
production of large
scale paintings for the
"hospitality" industry.  
Lawrence has achieved
translucent, flowing
colors with a rich "glaze"
reminiscent of pottery
glazes.   These are
produced with exotic
plant resins and waxes
added to oil-based
paints reminiscent of
Raku.
A large portion of
Lawrence's most affordable
work on  is on paper.  For
this he often employs
transparent overlays of
printed vellum along with
beeswax brushed onto the
paper.
Vellum collages. These often include
photographic images and Single
Image Stereograms
In 2006 and 2007 there are more directly photographic
explorations that may be later included in collages, or simply
presented as portraits.  The future seems bright.
Other Public Art:
A sculptural contribution to an office installation

.  Lawrence also worked on several Anasazi archeological sites through SMU.  During this time Lawrence was influence by
the dig sites and started to add tribal motifs to both his ceramic work and his paintings.  Lawrence’s wife Martha, being part
Native American, has influenced Lawrence’s work. Their continued involvement with tribal rituals provides a continuous
resource of influence in Lawrence’s work.

For the last twenty years, Lawrence's work is gradually shifting toward blending
photographic and digital images with drawing and painting. With the availability
of large format inkjet printing, there is no longer a distinct separation of painting
and computer graphics. Each seems to support the other in his growing skill and
awareness of the unlimited possibilities in this postmodern era.
Lawrence P. Kaster was born in 1951 in Hibbing, Minnesota.
He received his BA in 1974 at the University of Dallas in Irving, Texas.  
His primary focus was Ceramics, but he also worked with photography,
drawing, and printmaking.  For several years he worked as a
Studio Potter in a large studio in Oak Cliff, Texas. Lawrence sells his work
through galleries in the US and participates in many juried exhibits.  
In 1979 he decided to pursue a Graduate degree and attended
Southern Methodist University in Dallas, Texas, receiving his MFA in
1982.  His work includes painting and printmaking in addition to ceramics.
 After graduation, Lawrence began working on large scale Koi paintings.
Koi painting, Myrtle Beach Restaurant