Lawrence Armstrong’s work, presented in this exhibition at Galería Azur, lies at the intersection of Abstract Expressionism and a more intimate exploration of sensitive geometry. Through a vast palette of vibrant colors and forms that seem to breathe, Armstrong not only honors the greats of Abstract Expressionism but also opens new paths to a less-traveled territory where geometry is not imposed but revealed as a natural extension of pure emotion.

His works, seemingly chaotic, invite us into a visual conversation that transcends conventional forms. Organic elements and dissonant compositions, characteristics of Expressionism, intertwine with a structure that unveils a latent harmony, as if every brushstroke, every mark, were guided by an invisible yet palpable logic of form. This relationship between emotion and form appears to be driven by a dynamic energy, a velocity that flows through his compositions, evoking the spirit of Italian Futurism—not in terms of the mechanical or industrial, but as a manifestation of vitality and inner movement.

The concept of “velocity” in Armstrong’s work is not confined to visual dynamism but also refers to a process of constant transformation, both technically and conceptually. The forms shift, distort, and reformulate throughout his practice, as if each piece were a moment in an uninterrupted sequence of change. In a way, this accelerated movement reflects how Armstrong has integrated the tradition of Abstract Expressionism with a new vision, in which sensitive geometry becomes the channel through which this inner speed flows.

In this sense, Armstrong becomes an architect of the invisible, drawing lines of escape towards an order that, while suggested, is never fully explicit. The transition from the abstract to the geometric seems inevitable in his work, as though his evolution is the natural consequence of a process of knowledge consolidation. The irregularity of the figures is not an accident but an affirmation of the artist’s will to break the barriers between chaos and order, giving rise to a visual poetry that can only be fully appreciated when perceived without the need for traditional language.

The consistency of Armstrong’s work is built from his ongoing learning process, a journey that is measured not only by mastery of technique but also by his ability to transform personal experiences into a deeply sensitive form of art. Each work reflects another step in his growth, a culmination of challenges overcome, yet also a reminder that his journey is far from linear.

In this path, Armstrong seems to share with us a reflection by Paul Klee: “Art does not reproduce the visible; it makes visible what is not always so.” The subtlety with which the artist handles geometry and abstraction, revealing its underlying structures, invites us to look beyond the obvious and recognize the forms that emerge from confusion—as if art were, ultimately, a constant search for the essential.

With this new body of work, Lawrence Armstrong not only reaffirms his place within the tradition of Abstract Expressionism but also, with courage, shows us a path towards a geometry that is deeply sensitive and human—an inner geometry that beats to the rhythm of a velocity that never stops transforming.