Travis Lawrence works in one of the oldest visual languages there is: the hand-carved block, inked and pressed by hand, one impression at a time. His prints draw on medieval manuscript traditions, religious folk symbolism, and a self-taught devotion to craft that has little interest in modern printmaking’s obsession with precision
Do you remember the first time you thought, “I really want to be an artist”?
I grew up as a creative weird kid. By the time I got to high school, all my peers knew me as the student who could draw really well and it was kind of implied that’s what I should do. While in and out of college, I considered studying philosophy and religious studies, but I eventually returned to the arts. That is when I discovered printmaking and fell in love with it. I had no idea what I was able to do with the craft, I just wanted to learn about it as much as I could.
Have you ever imagined your art as a time capsule—what do you think future generations would think of it?
Printmaking is such an old world art, and so much of the medieval manuscript eras have been such a huge influence on me both visually and philosophically. As I honed into more of the style that I have been working in the last 15 years or so, I wanted to embody that timeless feel. I wanted the pieces to have the energy that they have withstood time and the symbolism was beyond anything contemporary. With that, I would like to think that this will continue on into the future generations as well. I even stain my paper to give it more of an antique look. Proper printmaking instruction really stresses perfectionism and OCD cleanliness. I am not as concerned about this. I want my pieces to look like they just got ripped out of an ancient book discovered in a vault.
I once had this very reputable print dealer contact me in regards to representing my work in their gallery, but they requested that I stop staining my paper out of fear that collectors might be confused if my prints appeared dirty. I though this was hilarious and turned down their offer. Maybe not a smart strategic move for a young artist, but I wasn’t trying to sacrifice myself for the sake of others. Art making felt like a mission to me, and I wanted to stick to this mission rather than fall into a trap of becoming a fine art designer strictly for the sake of sales. I hope my devotion to the integrity of what these pieces represent outlasts momentary opportunities and speaks greater volumes as a whole over time.
What is the last piece of art (by someone else) that genuinely stopped you in your tracks, and what did it do to you?
Lately I have been reading Scivias by Hildegard von Bingen. It is a collection of her visionary illuminations along with her writing about each one. I have been familiar with her for many years, but never fully dove in or read her books. This seems like one of those perfectly timed occurrences, because the things she is writing about deal with the same ideas I am working with in my current series. Even her use of gold reflects the increased use of metallic gold that I have been adding to this current body of work. A similar thing happened when I put off reading Jacob Boehme for years until I was working through my last series The Garden, and the poetic expressions he was sharing were on the same level of concepts that I was exploring. Art making for me is very divine, and when these synchronicities happen, it is not mere coincidence.
What is the one statement you could give to your younger self that you would give anything to go back and relay to them at a pivotal moment?
I believe I am right where I am supposed to be. Every up and down that I have gone through is a reason and a lesson. Every screw-up and success served the greater good. I feel blessed to be doing what I am doing, but maybe I would tell my younger self to buy some bitcoin.
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THE GARDEN + A Contemplation Card Deck by Travis Lawrence
We also wanted to introduce you to Travis’s new deck.
THE GARDEN by Travis Lawrence is a collection of transmissions altered only through the physical manifestation of their interpretations via the traditional craft of printmaking. The 35 hand-carved and individually painted relief prints are best understood as emblematic emanations of contemplative narratives.
THE GARDEN is not a tool of divination, but instruments of contemplation. Each card is a message and a messenger. The artwork is a conversation between the viewer and the visual. May these cards illuminate your soul.
Cards are 6” x 2.5”
Case is 6.5” x 3 x 1.25”
