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.

These can be either printed digitally, or painted.
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
Other Public Art:
A sculptural contribution to an office installation

Lawrence also visited several Anasazi archeological sites through a summer program at SMU.  During this time Lawrence
was intrigued with some findings at the dig sites and started to add tribal motifs to both his ceramic work and his paintings.  
Lawrence’s wife Martha, a Native American, has influenced Lawrence’s work. Their continued involvement with tribal rituals
provides a continuous source of inspiration for 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 interest 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
For more click HERE
Blue Cross/Blue Shield Building, Dallas
Pyrographic Drawing                   12 x 12"

orange inkjet ink on burnt wood with tiny white dots

Originals available in my Etsy shop
"Miss Apollo"                                 13 x 13"    
scanned grape leaves, sampled drawing
inkjet print with embellishments
Scanned leaf collage,           any size
multiple color formats with various coatings
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acrylic painting              48 x 48"
collage painting     72"h x 28"w
Dakota in the Village, Dallas
An installation at Lincoln Properties in 2010