The Art of Cheerfulness

Artist McLaughlin's manner carries over into his work

He likes it, I guess. I take a bite, and yes, it is pretty darn good at that.

Since McLaughlin completed his studies in Paris, his work has found its way into numerous museums, commercial properties and private collections, ranging from the Musée de l'Art Brut in Auxerre to the collections of Arnold Schwarzenegger and Maria Shriver and Linda Evangelista. For the last four years, he's divided his time between a house and studio he keeps in France's Loire Valley and a second house here in the Valley of the Sun, purchased as an affordable home base when California real estate proved too pricey.

We finish our sandwiches, and decide to splurge on dessert -- McLaughlin orders the chocolate layer cake with caramel, while I opt for the Key lime pie with real chantilly cream. We share, and once again, from across the table: "Mmmmmmmm!"

I ask McLaughlin what he can tell me, if anything, about what he's trying to express in his art. "Marianne Mittelholzer Leuenberger wrote about that in the catalogue," he says. "A lot of what she wrote is very spiritual, and I suppose unconsciously, that's true." As is usual for visual artists, though, he can't put a specific meaning of his works into words himself. "In the big fat pieces, my intent is just a presence, you know, a physical presence. People will see an embracing couple, or they'll see" -- he gestures at me -- "a radish!" He laughs. "If people look at my stuff and don't say, 'What the hell is that?' I'm happy."

As we're leaving, walking through the courtyard at PAM, McLaughlin is telling me about a Mexican restaurant with mariachi music he's planning to visit that weekend. A middle-aged couple who look like tourists overhear him, and ask where the place is. He stops and explains it to them in detail, as comfortably as if he used to go over to their house as a kid for lemonade and cookies. Then, as we head for the parking lot, he calls warmly to them over his shoulder:

"See you there!"

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