Ron Laboray

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Fred In Bedrock #1, 2002 Acrylic On And Spray Paint On Aluminum 3x5 Ft
Robin Over Batman, 2006 Acrylic And Spray Paint On Aluminum 4x4"
All the International Houses of Pancakes in the United States by Logo Color, 2003 Acrylic And Spray Paint On Aluminum 5x6
Aquaman in the Sea of Tranquility , 2003 Acrylic And Graphite On Museum Board © 28x32"
Kermits Over Piggy, 2007 Pastel On Paper 60x44"
The Great Wall of Aquaman, 2007 Colored Pencil On Paper 18x24
A World of Charlie Browns, 2007 Pastel On Paper 52x52
South Park #1, 2009 Enamel And Automotive Urethane On Aluminum 48" X 60" © Courtesy of the artist and Peter Miller Gallery Ltd.
Flavor Country, 2010 Automotive Enamel And Resin On Aluminum 30" X 46¼” © Courtesy of the artist and Peter Miller Gallery Ltd
These aren't the droids you're looking for, 2011 Surfboard Resin And Enamel On Aluminum 32" X 72" © Courtesy of the artist and Peter Miller Gallery Ltd.
Batman and Robin Over Gotham Wisconsin, 2011 Enamel And Automotive Urethane On Aluminum 36x48"
All the General Lees in Hazard County, 2011 Enamel And Automotive Urethane On Aluminum 48 X 60"
All Who Started and Finished the Pocono 500 in 2005, 2010 Enamel And Automotive Urethane On Aluminum 48x48"
The Fantastic Four Meet the Avengers West Coast, 2011 Enamel And Automotive Urethane On Aluminum 48x60"
Quick Facts
St Louis
Birth year
Lives in
Works in
Washington University in St. Luis, 2000, MFA Painting
University of Illinois
Representing galleries
Peter Miller Gallery
conceptual painting mixed-media, pop, installation, video-art, digital, conceptual, sculpture


My studio practice is conceptually driven from my experiences as an artist and archaeologist. I make paintings which are maps or charts  following scientific rules to organize abstract data. Within archaeology, much of the important knowledge is gained through the detritus of past culture.  I focus on similar type of seemingly worthless material for subject matter; our pop culture, junk mail, and spectacle. My painting and drawing processes involve employing all technologies: high and low. I fashion jigs to repeat tasks, use the computer to design and inform, and digital platforms and projections for end user interactivity. 


The paintings are in the form of maps and charts and attempt to archive cultural effect. Popular culture disseminates information that leads us to believe Metropolis and Gotham are the homes of Superheroes. Through similar means, we come to see any town bearing the name of Springfield as a potential residence of The Simpsons. Many locations enjoy a simultaneous existence in both fiction and reality. Beliefs generated by invented identities influence our perception of “the real”. Imagined identity can also be imposed on place through reoccurring phenomena like the Super Bowl, World Fairs, or a papal visit. These events, though short lived and migrant, create an atmosphere of close connection and in this, the chosen locations will share in the legacy and identity that is lent through hosting these various spectacles. 

Shiny and plastic like their subject of pop culture, the materials used in the paintings are metaphorically linked to the subject. Plastic represents not only the nature of the ever changing pop phenomena but also product endorsement or corporate logo. The painted surface is aluminum panel sold commercially as sign board, teasing the notion that painting and science are connected as systems of signs.


These locations, events, and ideas will be the research ground for future social scientists. These innocuous aspects of pop culture are the fossilization of present beliefs and attitudes in respect to our time. My archive then will have future importance for both science and art by quantifying and measuring this time through an honest effort of translation.