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Original Works

A square-format artwork by British artist Lauren Baker titled Auric Field, Truthwave. On a deep slate-grey field, a luminous aura of cyan and ice blue glows in a broad ring around the centre, brightening to white where it meets the disc. At the heart of the glow sits a circular form of silvery white, its surface mottled and dusted with sparkling diamond dust, textured like a frozen moon or a disk of compacted crystal. Over the disc lies a thin white line symbol: three short rays radiating upward like the marks of a clock face, with an open chevron angled beneath them, forming a spare geometric glyph. The composition reads as a field of light with a sigil at its core, cool, precise and meditative, the blues deepening at the square's edges and brightening toward the centre. Lauren Baker | Auric Field - Truthwave
A closer view of Auric Field, Truthwave, the artwork by British artist Lauren Baker. The crop fills the frame with the work's central event: the large silvery disc, its surface finely mottled and dusted with sparkling crystal fragments like frost on stone. Over it lies the artist's symbol for time, drawn in thin pale lines: three straight rays fanning upward from the disc's upper edge like the marks of a clock face, and a wide, open chevron spanning beneath them like the lower hands of a dial, its arms extending past the disc's rim. Around everything, the aura glows in soft bands, bright white against the disc, then pale aqua, then deepening teal toward the corners. The warmer rendering gives the surface a pearly, dawn-like quality, the glyph reading clearly as a quiet instrument for measuring truth over time. Lauren Baker | Auric Field - Truthwave | Close Up
A styled interior photograph showing Auric Field, Truthwave, the artwork by British artist Lauren Baker, hung at the centre of a bright room viewed through a wide white archway. The square piece glows against the pale wall, its cyan aura and silvery disc standing out cleanly against the neutral scheme. Beneath it, a slatted oak sideboard holds a folded magazine, flanked by two cream boucle armchairs, a low walnut coffee table, a double-headed black floor lamp and a vase of pampas grass, over pale herringbone flooring. The shot shows how the work's cool blues read in daylight: calm and graphic rather than glowing, holding the visual centre of a serene, sculptural room. Lauren Baker | Auric Field - Truthwave | In Situ
An oblique photograph of Auric Field, Truthwave, the artwork by British artist Lauren Baker, hung on a white wall and viewed from the side. The angle reveals the piece's black box tray frame, its slim depth catching the light along the right edge, the square panel floating slightly off the wall. The composition reads as before from this vantage: the cyan aura radiating around the silvery, diamond-dusted disc, the thin white glyph of radiating rays and chevron lying over it. Seen in real space rather than flat, the gradient of the aura appears even more luminous, the brightest ring seeming to hover a little off the surface. The view confirms the work as a finished, framed object: framed by the artist, ready to hang, its depth part of its presence. Lauren Baker | Auric Field - Truthwave | Side View

Lauren Baker

Auric Field - Truthwave, 2024
Ink with hand-embellished diamond dust on fine canvas, box tray frame
105.5 x 105.5 cm
41 1/2 x 41 1/2 in
Edition of 6
£ 4,500.00
Lauren Baker, Auric Field - Truthwave, 2024
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Further images

  • (View a larger image of thumbnail 1 ) A square-format artwork by British artist Lauren Baker titled Auric Field, Truthwave. On a deep slate-grey field, a luminous aura of cyan and ice blue glows in a broad ring around the centre, brightening to white where it meets the disc. At the heart of the glow sits a circular form of silvery white, its surface mottled and dusted with sparkling diamond dust, textured like a frozen moon or a disk of compacted crystal. Over the disc lies a thin white line symbol: three short rays radiating upward like the marks of a clock face, with an open chevron angled beneath them, forming a spare geometric glyph. The composition reads as a field of light with a sigil at its core, cool, precise and meditative, the blues deepening at the square's edges and brightening toward the centre.
  • (View a larger image of thumbnail 2 ) A closer view of Auric Field, Truthwave, the artwork by British artist Lauren Baker. The crop fills the frame with the work's central event: the large silvery disc, its surface finely mottled and dusted with sparkling crystal fragments like frost on stone. Over it lies the artist's symbol for time, drawn in thin pale lines: three straight rays fanning upward from the disc's upper edge like the marks of a clock face, and a wide, open chevron spanning beneath them like the lower hands of a dial, its arms extending past the disc's rim. Around everything, the aura glows in soft bands, bright white against the disc, then pale aqua, then deepening teal toward the corners. The warmer rendering gives the surface a pearly, dawn-like quality, the glyph reading clearly as a quiet instrument for measuring truth over time.
  • (View a larger image of thumbnail 3 ) A styled interior photograph showing Auric Field, Truthwave, the artwork by British artist Lauren Baker, hung at the centre of a bright room viewed through a wide white archway. The square piece glows against the pale wall, its cyan aura and silvery disc standing out cleanly against the neutral scheme. Beneath it, a slatted oak sideboard holds a folded magazine, flanked by two cream boucle armchairs, a low walnut coffee table, a double-headed black floor lamp and a vase of pampas grass, over pale herringbone flooring. The shot shows how the work's cool blues read in daylight: calm and graphic rather than glowing, holding the visual centre of a serene, sculptural room.
  • (View a larger image of thumbnail 4 ) An oblique photograph of Auric Field, Truthwave, the artwork by British artist Lauren Baker, hung on a white wall and viewed from the side. The angle reveals the piece's black box tray frame, its slim depth catching the light along the right edge, the square panel floating slightly off the wall. The composition reads as before from this vantage: the cyan aura radiating around the silvery, diamond-dusted disc, the thin white glyph of radiating rays and chevron lying over it. Seen in real space rather than flat, the gradient of the aura appears even more luminous, the brightest ring seeming to hover a little off the surface. The view confirms the work as a finished, framed object: framed by the artist, ready to hang, its depth part of its presence.
View on a Wall
Auric Field, Truthwave was created to elevate speaking inner truth. It is inspired by the throat chakra and the sixth layer of the auric field, and it brings in all...
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Auric Field, Truthwave was created to elevate speaking inner truth. It is inspired by the throat chakra and the sixth layer of the auric field, and it brings in all the blues: the colour of expression, of the voice, of saying the thing that has been held back. At the centre of the blue artwork sits a symbol the artist made to represent time, because, in her words, truth always rises with time, the truth will set you free, and time is the ultimate teller of truths. While the busy have no time for truth, the wise dedicate their life to it. The work's making is as specific as its meaning. Each canvas in the Auric Field series begins with the artist listening to sound frequencies while she paints, and this one was made listening at 741 Hz, the Solfeggio tone believed to further the connection to intuition and truth; the sound, she says, really informs the energy and the hues of colour. Her colour blending carries two art-historical inheritances she names herself: Hilma af Klint's use of colour to depict spiritual dimensions, and Rothko's blending of hues to evoke emotional depth. The aura, the electromagnetic energy field that is the bridge between our spiritual and physical body, is the work's subject and its surface at once: a field of blue light scattered with hand-applied diamond dust, shimmering at the edge of seeing. Ink with hand-embellished diamond dust on fine canvas, in a box tray frame. 101.5 x 101.5 cm unframed; 105.5 x 105.5 cm framed. Signed and numbered from an edition of 6. £4,500.
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