Exhibited, the short list

Special items

Biennale Internazionale Dell’Arte Contemporanea 2003, Florence, Italy
James Wilbur Johnston Sculpture Competition, Washington, D.C.
Louisiana State Art Exhibition Invitational, Baton Rouge, Louisiana
Delgado College Scholarship, New Orleans, Louisiana
Atlanta College of Art Scholarship, Georgia
 

Collections

Edwin Edwards, Louisiana Governor
Peter Jones, painter
Susan Roach, cultural historian
Dr. Wayne Lake, private collector, New Orleans, Louisiana
Robert Bowman, private collector, Shreveport, Louisiana

Contact Information:
Lacey Stinson 253 Upchurch Rd. Dubach, LA 71235 USA (318) 777-9259 email: the Painter	Nashville Agent: Nancy Puetz 4518 Pratt Lane Franklin, TN 37064 (615) 790-0400 email: Nancy	Los Angeles Agent: Candice Vance 2215 Hermosa Ave. Hermosa Beach, CA  90254 email: the Queen	Louisiana Agent: Kerry Easley 162 Jess Easley Rd. Minden, LA 71055 (318) 218-6418 email: Mr. Easley
United States of America

 

When people are told that I am a painter they often ask what I paint.  Is there is a simple answer?  Is there an answer at all?  Job, career, family, house, car, dog, baby, vacation, and interesting, inspiring, needful things to buy. These are the things which occupy the thoughts of many.  Where does my work fit in?  What does a painter do?  What do I paint?  Perhaps I paint beautiful paintings.  Not pretty paintings.  In everything I wish to know and think beyond the superficial.  If you ask me what I paint, I would have to answer, I paint paintings...they may be beautiful.  Beauty may not be your concern, in which case there is more if you look for it; it's there.  If your own paintings can teach me something, this is beauty.  If your scientific work enlightens me, this is beauty.  If your kindness frees a burden which had bound my thoughts, this is beauty.  Paintings are unseen thought made visible. Thought is motivated by something which is not thought as we know it, as we are able to be aware of it. Here lay the unconscious; we know it must exist, yet no one is able to see his own unconscious, nor that of any other.  Its existence is inferred through statistically provable causal manifestations in behavior. What you capture as a result of this study is, however, not the thought itself, but simply the result of the thought: the sound of a voice, the writings on paper, the melody which echoes from trees and buildings.  It is the record of our existence, but not our existence itself.

It is also my thought that a painting should seem to have grown directly from nature rather than having been fabricated. This defies complete explanation, but in it is the essence of what I would refer to as beauty; a painting should not attempt to satisfy preexisting ideas of beauty, it should simply have grown naturally, having been sculpted by the myriad and incessant natural forces from all areas of the mind which are, in their details, unpredictable. For this reason, too, the painting isn't required to say anything, it merely exists the way any natural (non-manmade) thing exists. It occupies its space without having to justify itself. While justification might incite improvement within the painter, it is ultimately little more than opinion, and opinions change.  

I cannot say where my best work comes from. I cannot predict where it will end up when I begin. It is not even clear when I actually begin a piece, nor when it is I come to know what I'm trying to do with it. Painting is every bit like a lover relationship. It is never entirely clear that you have a relationship; something is indeed there, an agreement of some kind, an honesty, but it all works better if your thought is that you have -- as in possess -- a relationship even when it's unknown whether it shall continue or possibly end (it does both). Your end is in trusting that within yourself you will endure pain and frustration in the short run in order to provide something worthwhile, even if you are not that which is to be celebrated (there are no self-made martyrs).

My concern for my paintings is not whether you like them, hate them, think them childish, unfocused, cheap knock-offs, or out-dated. I simply paint. If I am to be anything other than a commissioned artist, I must paint for my own reasons. For a commission I will still do precisely what I see need for, ergo, it is still my work. You, the patron, would be commissioning my life rather than commissioning a work of art.  If you are a patron, you may want to think about supporting the life of an artist, mine or that of any other painter, draftsman, sculptor. This is a traditional and very difficult way to through one's life.  

 

 

"I write from instinct, from inexplicable sparkle. I don't know why I'm writing what I'm writing. Usually, I sit and I let my hands wander on my guitar. And I sing anything. I play anything. And I wait till I come across a pleasing accident. Then I start to develop it. Once you take a piece of musical information, there are certain implications that it automatically contains--the implication of that phrase elongated, contracted, or inverted or in another time signature. So you start with an impulse and go to what your ear likes."

         - Paul Simon interview with Tony Schwartz, Playboy, Feb. 1984:166    http://en.wikiquote.org/wiki/Paul_Simon