“...cement, metal, plaster. They are all essential to make McLaughlin's work possible. Necessary to present a form that otherwise would not hold itself, embrace itself, and keep it close. The form looks at us, the light passing through and spreading into the space. It becomes the eye that sees and understands, like the birth of the world, a kind of absolute beginning. The original light emerges from this amalgam of cement, resin, plaster and metal, as if from the beginning of time....”
— Bruno LaVillatte
Born in Litchfield, Minnesota in 1956, McLaughlin began working in sculpture while studying at the University of California at Santa Cruz in the 1970's. Later he worked in London painting and printmaking. In 1988 he completed studies at the Ecole Nationale Superieure des Beaux Arts in Paris. His work was first shown there in the Atelier Charpentier.
McLaughlin maintains studio-residences in France and the United States. He keeps a workshop in the Loire Valley in France, a studio in Palo Alto, California and another on two acres of desert in Phoenix, Arizona.
His work can be viewed in numerous galleries in Europe, Canada and the USA.
Selected recent exhibitions
Galerie Carla Milivinti, Blois, France Museum of figurative art, Scottsdale, Arizona
White space art Asia, Singapore
Musee de l'Art Brut, La Fabuloserie, Dicy,
France Galleri im Zopfli, Lucerne, Switzerland
Norballe Gallery, Sonderborg, Denmark
Philip Bareiss Contemporary, Taos, NewMexico
Museum Cuort Ligia Grischa, Trun, Switzerland
Udinotti Gallery, Scottsdale, Arizona
Prieure du Bourget du Lac, France
Galerie Chantal Melanson, Annecy, France
Dimensions Plus Gallery, Montreal, Canada Denison Gallery, Toronto, Canada
Gunnar Nordstrom Gallery, Bellevue, Washington
Karla Matzke Fine Art, Camano Island,
ArtSens, Nice, France
Centre Culturel Beaugency, France
Kunstuck, Oldenburg, Germany
Galerie Schortgen, Luxembourg
Arte Viva, Paris, France
Statement on McLaughlin Sculpture
Lawrence McClaughlin nudes stand or lie in repose with classical inceptions of Greek and Roman rigor somehow mislaid –like guests wasted at the end of a party, who won’t or can’t go home. Their dignity challenged by their overindulgent corpulence. Yet here they are - of substantial heft. Some are borne aloft with silly tiny angel wings, still strong presiding in my garden or wherever they take a stand. With pride they show the drama of potential energy of precarious mass raised up; others relax in happy resolution, poured out in comfortable poses on a receptive ground. We like their avoirdupois and good nature. They are just like us.