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 Lawrence Carroll  (1954 - )

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Lived/Active: California / Australia      Known for: sculptor-large-scale abstraction

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Ad Code: 3
Lawrence Carroll
from Auction House Records.
1969, 1990
Artwork images are copyright of the artist or assignee
This biography from the Archives of AskART:
Lawrence Carroll was born in Melbourne, Australia in 1954. His art education included three California institutions: Moorpark College, 1972-1975; the Art Center College of Design, Pasadena, 1976-1980; and the Otis Art Institute, Los Angeles, 1980. The artist continues to live and work in California.

Some exhibitions include:
1999 Galerie Karsten Greve Paris, France
1997 Galerie Baudouin Lebon Paris, France
1997 Museo Cantonale de Arte Lugano, Switzerland
1996 Galleria Sperone Rome, Italy
1995 The Material Imagination, Guggenheim Museum SoHo New York, NY
1995 Interventions in Space, Graham, Schwarz,, Museo de Bellas Artes Caracas, Venezuela
1994 The Power Plant Toronto, Canada
1993 Ace Contemporary Exhibitions Los Angeles, CA
1992 Whiter Shade of Pale, Galerie Sophia Ungers Cologne, Germany
1991 Rontgen Kunst Institut Tokyo, Japan
1989 Holtegaard Museum Vedaek, Denmark
1988 Stux Gallery New York, NY
1987 Queens Museum Flushing, NY
1985 Now Gallery New York, NY

Following is a review from

Though born in Australia and living and working in California, Carroll's work is anything but redolent of desert landscapes. Even his large-scale works - and some of them are very large indeed - reflect the artist's humanity and never seem intimidating. Part of this is due to his working process and his attitude to materials. His works are always based on materials already employed for some other purpose and the signs of this use are still visible: they show their own history. And yet his slow, manual working process transforms them into highly personal works, even while losing nothing of this previous life. His paint, subdued yet warm, respects the original colouring and points up the form while being immediately recognisable as that of Carroll. The new wax skin allows the earlier vicissitudes of the wood and canvas to show through, but the handling is always definitely human and controlled.


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