AGGLOMERATE STATEMENT

These works are figurative abstractions exploring boundless methods of visual art. They are fueled by invention and discoveries from an active thought process seeking to encourage the audience to experience a different way to see. They are combinations of geometric and organic approaches expressing my relationship with a complex world.

SPIRITUAL PORTRAIT STATEMENT

Spiritual Portraits are a on going series of works created with the cremation ashes of family and friends that have past. They memorialize the lives of these people by giving a sense of their presents in our material world. They bring back memories of their physical past in those who have survived them.

FLORALS

In these painting I am using a spontaneous method for their structure, concept and rendering. One without a preconceived idea of the outcome. By using this approach I have achieved a emotional response to the invention of my subject matter found in abstract expressionism painting

CEREAL BOXES

Commercialism in our society has learned to attract attention to itself by packaging. In using this concept anything can be glorified by how it is presented. By using what commercialism has taught us , I am bringing attention to social and political issues in which I feel are overlooked misleading, covered up, dangerous or ignored.

BEYOND INTRACTABILITY

The world around us is many things. It can be joyous, mysterious, confusing, complicated, frustrating and dangerous. These characters are a depiction of how we might feel in navigating our place in society and what it might look like to be confronted by the complexity of society at any given moment.

INTERPRETATION (agglomerate)

By Jose Antonio Perez

The abstract production on D laurent Dahlke consists mainly of a synthesis of the natural phenomena surrounding him. With a fine sense of aesthetics, he has developed a particular plastic language, with the purpose of expressing the differences between these forces that surround us and how the individual feels them. An example of this would be the way in which the artist’s geometric forms are combined with an organic presence to elicit a psychological response, based on the translation of his experience in form and color. In these creations, the algebraic formalities and the organic traces of expressionistic accents coexist, in a conciliatory proceeding that reminds is of the overwhelming influences of nature upon us.

When we look at his work. we get the feeling that the artist deals with elements of a composition permeated by an ancient concept of the universe. His predominant use of a chromatic scale in which he alters primarily the blues, ochres, red and green, makes evident the intellectual influences of the old that assign to the earth, wind, water and fire, the capacity to generate life. We cannot help but notice in his work the traces left behind by circumstances of the soul, with a tendency to utilize and emphasize his available resources. The natural movements within the paintings transcend the material and become metaphysical impulses. He is an alchemist converting the elements that surround him into the primal soures of energy that beget life. During the process, he finds vibrations that connect us to a transcendental cosmology in which the logistic of physics share its space with equivalent esoteric powers. That’s why, when we look at the present sample, the observer must be aware of the influence of the visible over the intangible that shape Dahlke’s work. This may explain the burst of ethereal substances, hovering now and then upon the canvasses like an immaterial nebula. The ghostly conformation of these establish parallel between the physical and the incorporeal. Sometimes you even get the impression that he’s encompassing the principles of a peculiar oriental spiritualism, whose believes strive for virtue to transcend the material works, in order to transport themselves near the circles reserved for the enlightened.

In his mixed media, Dahlke shares with spectator an existential energy from which we can access the sublime. His intention is to provide us reference points to overcome our physical limits. Thus, we’ll find the key to enter the deep aesthetically paths utilized by creator to convey an affirmation of the inevitable, utilizing the trail of those who choose to enter the mystical-esoterica dominions by concentrating on the representation of the fundamental. That is probably why Dahlke shelters in his work, like a ghost hunter, a conspiracy of the immaterial, dying to get out into the world.

In his compositions our artist welcomes elements abducted from other dimensions. He is developing images populating a pictorial world that requires its inhabitants to provide him reasons to expand their physical references. This is evident in the painting like Expanding Soul. In the space he creates a movement that overflows the limits of the creators the limits of the ocher figure, with the intention of invading it’s blue surroundings. There’s a perception of painted reflections that rise to levels assigned by the artist, It is this role as an external power with an imperative mission, that transforms him into the invisible protagonist of his production.

We must point out something about Dahlke’s use of color: his chromaticism acts as a symbolic-aesthetic agent, and he applies his hues in a very clean and precise manner. Most of his production consists of mixed media, but the materials and the techniques he uses are so well integrated the their contours become invisible to the eye.

In my opinion, Dahlke possesses the ability to establish a direct dialogue with the observer. He-s been able to combine the formality of attraction with an organic presence that burst forth in his compositions, achieving a difficult balance of forces in a non-objective execution.