Interview With Artist Lori Horowitz
https://www.lorihorowitz.com
"Shrouded"
Aluminum wire, spun copper,woven and sewn copper wire.
2020 20 "H x 20"W x 20"D
Aluminum wire, spun copper,woven and sewn copper wire.
2020 20 "H x 20"W x 20"D
TNYO: Can you tell us how your art may or may not have been inspired by your environment growing up, and have you been creating sculpture since childhood?
Lori Horowitz: My early recollection of my love of creating art was as a child at an eight-year-old birthday party adventure. We visited a beautiful clay beach on the north shore of Long Island with striations of purple, orange, gray porcelain. I dug my hand deep into the earth and fell in love with sculpture. In elementary school, I drew and sculpted my projects and continued throughout my education and career. My family was always very supportive of my pursuit of art, encouraging my education, providing materials and art programs to explore.
TNYO: Regarding Rooted in Humanity, Exodus, From the Earth, Burned into Memory and the Nurture series can you tell us about these series of sculptural work - mediums and why you use those mediums, and most importantly, what are the backstories and inspirations for these works?
Lori Horowitz: If we were to go through the development of my work, we would begin with “Burned into Memory”: which began in 2017.
“Burned into Memory” is a psycho/social portrait of societies struggles with acceptance and belonging. This series touched me personally with the loss of my father who suffered from Alzheimer's disease. I developed a process of painting on copper wire mesh with fire using a torch to create varied color and form. Sheets of copper are then sculpted three dimensionally by pushing and stretching the copper into detailed human forms.
Light is projected through these screens, creating large haunting shadows. They engage the transient qualities of functionality in society and bring light to issues of aging and loss of self. The translucent and reflective qualities of these pieces mimic the qualities experienced with the stages of dementia and the slow fading of onesself. The shadows imply an after image or memory of “being a shadow of what you once were”.
The Nurture Series of Papier Mache and Encaustic Wax Portraits draws from historical use of relief sculpture, bringing these methods to current topics. I seem to become somehow bonded to these individuals carefully exploring and interpreting their attitudes without making judgments.
Starting my process with camera in hand, I record and engage my subjects, digesting postures of individuals whose faces reflect their stories. I then combine photographs, wire, papier mache, encaustic wax, torched copper, brass mesh and paint, to create layered and technically complex portraits. Using techniques learned through many years creating large theatrical displays, I create light weight, durable tableaus.
I appreciate the challenge of each piece,collapsing three dimensional pieces into two- and three-dimensional space. Life-sized relief papier mache, and mixed media and encaustic wax sculptures depict individuals in society and their interactions. These pieces reflect interpretations of everyday moments of isolation, disassociation and violation, as well as joy and pride and vibrancy. This series brings light to the overlooked and attention seekers of our society while creating compelling imagery and an intimate view of “persona”.
Exodus series
When Covid -19 changed our social abilities to engage with others, I began to take long walks in the woods to gain inspiration. Past relief sculptures were about the interactions of individuals, their challenges and social place, but my recent efforts reflect social distancing. Isolation triggers more time for introspection. Instead of depicting people in society, I am finding humanity through nature, a place of unlimited access. Photographs of anthropomorphic tree roots form the underpinning of this recent series “Exodus”.
These works depict the human form both isolated and vulnerable, examining the frailty of the human condition. Delving deep within the image, I encourage figures to reveal themselves. Forms emerge from the earth, deeply rooted past struggles and growth. Finding daily inspiration, I have created mixed –media photographic monoprint drawings. These images are the basis for my 3D work. Sculptural figures take on these postures and are shrouded in gauze and spun copper that are ethereal and translucent. In the Exodus series, the delicate nature of humanity is portrayed through these ephemeral forms, creating haunting shadows as important as the physical beings.
Capturing body language, movement and how they relate to emotion and character, reflect the human condition exposed in these works. Sculptures of wire mesh reveal figures whose existence is precarious. Many people have suffered losses due to political, financial and social displacement. By penetrating façades, we look deeply into transparent figures seeing the effects of quarantine, loneliness, gender and loss of community. Larger sculptures combine past processes of photography, wire, soft sculpture, encaustic wax, torched copper and paint, inmixed-media reliefs and sculptures.
Lori Horowitz: My early recollection of my love of creating art was as a child at an eight-year-old birthday party adventure. We visited a beautiful clay beach on the north shore of Long Island with striations of purple, orange, gray porcelain. I dug my hand deep into the earth and fell in love with sculpture. In elementary school, I drew and sculpted my projects and continued throughout my education and career. My family was always very supportive of my pursuit of art, encouraging my education, providing materials and art programs to explore.
TNYO: Regarding Rooted in Humanity, Exodus, From the Earth, Burned into Memory and the Nurture series can you tell us about these series of sculptural work - mediums and why you use those mediums, and most importantly, what are the backstories and inspirations for these works?
Lori Horowitz: If we were to go through the development of my work, we would begin with “Burned into Memory”: which began in 2017.
“Burned into Memory” is a psycho/social portrait of societies struggles with acceptance and belonging. This series touched me personally with the loss of my father who suffered from Alzheimer's disease. I developed a process of painting on copper wire mesh with fire using a torch to create varied color and form. Sheets of copper are then sculpted three dimensionally by pushing and stretching the copper into detailed human forms.
Light is projected through these screens, creating large haunting shadows. They engage the transient qualities of functionality in society and bring light to issues of aging and loss of self. The translucent and reflective qualities of these pieces mimic the qualities experienced with the stages of dementia and the slow fading of onesself. The shadows imply an after image or memory of “being a shadow of what you once were”.
The Nurture Series of Papier Mache and Encaustic Wax Portraits draws from historical use of relief sculpture, bringing these methods to current topics. I seem to become somehow bonded to these individuals carefully exploring and interpreting their attitudes without making judgments.
Starting my process with camera in hand, I record and engage my subjects, digesting postures of individuals whose faces reflect their stories. I then combine photographs, wire, papier mache, encaustic wax, torched copper, brass mesh and paint, to create layered and technically complex portraits. Using techniques learned through many years creating large theatrical displays, I create light weight, durable tableaus.
I appreciate the challenge of each piece,collapsing three dimensional pieces into two- and three-dimensional space. Life-sized relief papier mache, and mixed media and encaustic wax sculptures depict individuals in society and their interactions. These pieces reflect interpretations of everyday moments of isolation, disassociation and violation, as well as joy and pride and vibrancy. This series brings light to the overlooked and attention seekers of our society while creating compelling imagery and an intimate view of “persona”.
Exodus series
When Covid -19 changed our social abilities to engage with others, I began to take long walks in the woods to gain inspiration. Past relief sculptures were about the interactions of individuals, their challenges and social place, but my recent efforts reflect social distancing. Isolation triggers more time for introspection. Instead of depicting people in society, I am finding humanity through nature, a place of unlimited access. Photographs of anthropomorphic tree roots form the underpinning of this recent series “Exodus”.
These works depict the human form both isolated and vulnerable, examining the frailty of the human condition. Delving deep within the image, I encourage figures to reveal themselves. Forms emerge from the earth, deeply rooted past struggles and growth. Finding daily inspiration, I have created mixed –media photographic monoprint drawings. These images are the basis for my 3D work. Sculptural figures take on these postures and are shrouded in gauze and spun copper that are ethereal and translucent. In the Exodus series, the delicate nature of humanity is portrayed through these ephemeral forms, creating haunting shadows as important as the physical beings.
Capturing body language, movement and how they relate to emotion and character, reflect the human condition exposed in these works. Sculptures of wire mesh reveal figures whose existence is precarious. Many people have suffered losses due to political, financial and social displacement. By penetrating façades, we look deeply into transparent figures seeing the effects of quarantine, loneliness, gender and loss of community. Larger sculptures combine past processes of photography, wire, soft sculpture, encaustic wax, torched copper and paint, inmixed-media reliefs and sculptures.
Continued experimentation leads me to a new technique of sculpting photos and accenting them three dimensionally. Using skills of the past and historical references. I reflect struggles that repeat themselves throughout history and echo the challenges we face globally.
From the Earth, represents my reverence to nature and examines the details of what lies beneath the surface, both physically and metaphorically. During long works in nature, I photograph interesting plant growth and search for hidden treasures. Often, it is the beauty from decay found on downed trees and underbrush spawning fungus and mushrooms that attracted my attention.
The endless variety of textures, forms patterns and vivid color are a welcome change from the seriously dark path of the Exodus series. I begin with my photographs as a starting point, transforming these images by adding texture with encaustic wax, metals and patinas. Sculptural earthly forms grow from two dimensional images highlighting, depth in these tactile plant forms. As the series expands and evolves through exploration, I am discovering a new direction technically transforming my work.
“Rooted in Humanity”. Combines themes and imagery from both the “Exodus” and “From the Earth” series. My appreciation of the wonders of nature grows with my exploration while being mindful of environmental concerns. Continued experimentation leads to a new technique of sculpting photos three dimensionally that are large, durable, self-supporting and light weight.
This direct transference of image to sculpture opens up so many new possibilities that I have just begun to investigate. As my understanding of my process grows, so does my insight into how these past and present works collage together forming larger meaningful works. Assembled, they pay homage to nature and humanity's coexistence.
From the Earth, represents my reverence to nature and examines the details of what lies beneath the surface, both physically and metaphorically. During long works in nature, I photograph interesting plant growth and search for hidden treasures. Often, it is the beauty from decay found on downed trees and underbrush spawning fungus and mushrooms that attracted my attention.
The endless variety of textures, forms patterns and vivid color are a welcome change from the seriously dark path of the Exodus series. I begin with my photographs as a starting point, transforming these images by adding texture with encaustic wax, metals and patinas. Sculptural earthly forms grow from two dimensional images highlighting, depth in these tactile plant forms. As the series expands and evolves through exploration, I am discovering a new direction technically transforming my work.
“Rooted in Humanity”. Combines themes and imagery from both the “Exodus” and “From the Earth” series. My appreciation of the wonders of nature grows with my exploration while being mindful of environmental concerns. Continued experimentation leads to a new technique of sculpting photos three dimensionally that are large, durable, self-supporting and light weight.
This direct transference of image to sculpture opens up so many new possibilities that I have just begun to investigate. As my understanding of my process grows, so does my insight into how these past and present works collage together forming larger meaningful works. Assembled, they pay homage to nature and humanity's coexistence.
TNYO: You are about to have an exhibition coming up in March, please tell us about your exhibition history and some of the best shows you have done and participated in over the years.
Lori Horowitz: I have participated in over 75 group shows since 2016 with 10 solo shows and currently am included in five group exhibits in the NYC area. I am preparing for two solo shows and have the honor of exhibiting at the Hudson Guild Galleries in Chelsea NYC opening March 23 – May 18. "Rooted in Humanity” will be at Hudson Guild Gallery, 441 W. 26th Street, New York, NY 10001 with an opening reception, Thursday, March 23, at 5:30 – 7:00 PM. There will be an artist talk about the work on the closing date of Thursday, May 18 6:00 PM – 7:00 PM. “We the People” will be shown at Guild Gallery II, 119 9th Avenue, New York, NY 10011 with an opening reception on Saturday, April 15, 2023 4:00 – 5:30 PM.
“We the People” will highlight the artwork created prior to the pandemic, of social portraiture that
engages individuals and reflects their lives and stories. "Rooted in Humanity" was created during Covid
and reflects the change to a darker time of loss and isolation. The dichotomy of how humanity
is portrayed in subject and form, is contrasted in these two shows.
I am always excited to be part of group shows with the opportunity to meet and see so many interesting and talented artists. Sharing our processes and inspiration for our work is vital to an artists’ practice. Through the years of exhibiting, one of my favorite shows that I curated was at Studio 5404 Art Space a few years back called “Taking it to the Streets" I invited six graffiti artists from the N.Y. tristate area and a Brazilian artist to paint a 65-foot concrete graffiti wall that we built. Ten musicians from Georgia trucked up to NY to play some incredible music along with a local gifted youth jazz ensemble. The artwork was as diverse as the artists that participated and new friendships were formed that expanded our lives.
Another of my favorite shows took place at the end of this past summer “Toro Nagashi” shrouded installation in Long Beach Plaza, N.Y. as a homage to those lost as a result of Covid. Hundreds of people covered the Plaza square with its long reflecting pool running through the center. Positioned adjacent to the waterway was a grouping of my shrouded sculptural figures. As dusk rolled in the sculptures were lit, glowing with the woven copper mesh and gauze illuminated. There was an incredible outpouring of emotion provoking a response that touched viewers with a deeply felt connection. This was an awakening to the power and relevance of this series. People engaged and shared their stories, bringing tears and emotion. It was an incredible experience; a gift given back to me through this work.
TNYO: What is Studio 5404 Art Space?
Lori Horowitz: In 2016, I opened a not-for-profit Artspace to bring the cultural arts to central south shore of Long Island. I worked as a curator and executive director of this inter-arts space for 4+ years. We shared artwork, held exhibitions every six weeks and showed the work of over 400 artists. This gallery explored artforms from performance art and outdoor graffiti murals to more traditional painting and sculpture.
Artists residing in the Long Island and NY tristate area showed most often, but we did feature some international artists. We received recognition from local publications and councils, along with articles in the New York Times and mentorship from a Metropolitan Museum curator. This not-for-profit gallery created a cohesive art community providing opportunity, engagement, education, mentorship and support.
Lori Horowitz: I have participated in over 75 group shows since 2016 with 10 solo shows and currently am included in five group exhibits in the NYC area. I am preparing for two solo shows and have the honor of exhibiting at the Hudson Guild Galleries in Chelsea NYC opening March 23 – May 18. "Rooted in Humanity” will be at Hudson Guild Gallery, 441 W. 26th Street, New York, NY 10001 with an opening reception, Thursday, March 23, at 5:30 – 7:00 PM. There will be an artist talk about the work on the closing date of Thursday, May 18 6:00 PM – 7:00 PM. “We the People” will be shown at Guild Gallery II, 119 9th Avenue, New York, NY 10011 with an opening reception on Saturday, April 15, 2023 4:00 – 5:30 PM.
“We the People” will highlight the artwork created prior to the pandemic, of social portraiture that
engages individuals and reflects their lives and stories. "Rooted in Humanity" was created during Covid
and reflects the change to a darker time of loss and isolation. The dichotomy of how humanity
is portrayed in subject and form, is contrasted in these two shows.
I am always excited to be part of group shows with the opportunity to meet and see so many interesting and talented artists. Sharing our processes and inspiration for our work is vital to an artists’ practice. Through the years of exhibiting, one of my favorite shows that I curated was at Studio 5404 Art Space a few years back called “Taking it to the Streets" I invited six graffiti artists from the N.Y. tristate area and a Brazilian artist to paint a 65-foot concrete graffiti wall that we built. Ten musicians from Georgia trucked up to NY to play some incredible music along with a local gifted youth jazz ensemble. The artwork was as diverse as the artists that participated and new friendships were formed that expanded our lives.
Another of my favorite shows took place at the end of this past summer “Toro Nagashi” shrouded installation in Long Beach Plaza, N.Y. as a homage to those lost as a result of Covid. Hundreds of people covered the Plaza square with its long reflecting pool running through the center. Positioned adjacent to the waterway was a grouping of my shrouded sculptural figures. As dusk rolled in the sculptures were lit, glowing with the woven copper mesh and gauze illuminated. There was an incredible outpouring of emotion provoking a response that touched viewers with a deeply felt connection. This was an awakening to the power and relevance of this series. People engaged and shared their stories, bringing tears and emotion. It was an incredible experience; a gift given back to me through this work.
TNYO: What is Studio 5404 Art Space?
Lori Horowitz: In 2016, I opened a not-for-profit Artspace to bring the cultural arts to central south shore of Long Island. I worked as a curator and executive director of this inter-arts space for 4+ years. We shared artwork, held exhibitions every six weeks and showed the work of over 400 artists. This gallery explored artforms from performance art and outdoor graffiti murals to more traditional painting and sculpture.
Artists residing in the Long Island and NY tristate area showed most often, but we did feature some international artists. We received recognition from local publications and councils, along with articles in the New York Times and mentorship from a Metropolitan Museum curator. This not-for-profit gallery created a cohesive art community providing opportunity, engagement, education, mentorship and support.
TNYO: Curating Artists, how does that work for you and can you share some of your experiences with other artists and where you have directed their works?
Lori Horowitz: I have curated many shows over the last few years and have learned so much from the experience. Curating is an artform in itself that combines and understanding of concept along with the appreciation of the skill and intent of the artists; work. It is not always a matter of taste but more about the merit of the work. Combining the visual element of the artwork together to form a cohesive exhibition requires careful examination. A curated show assembles balanced elements of design such as, line shape form texture, color and theme. Similarly, an individual artist would apply these principles to their own work. Here in curating, the pieces of the puzzle are already created with the opportunity to create an even stronger message by assembling the elements. Participating artists have to chance to meet and collaborate, providing opportunities for future shows and an exchange of ideas. We often have art talks about the work and share critique and insights. These shows have led to sales of artwork as well as exposure and publicity.
TNYO: You have been featured in a number of magazines, can you tell us about that experience and how these opportunities came about?
Lori Horowitz: Successfully gaining magazine and public exposure requires hard work and being your own advocate. I have had a number of local publications reach out to me through word of mouth or viewing art shows and studio visits. Over the years I have developed connections with journalists who have followed the progress of my work. They have been generous with publications on-line as well as exposure in local papers and magazines It requires discipline, spending hours of time sending out press releases, and sharing your work through social media while creating artwork in the studio. I have come to realize that if you don’t get your work into the public eye, no one will see and experience it. It seems like an obvious premise but it is truly a balancing act to create and market yourself in a professional manner.
Through mailings and social media contacts I have had articles in the NY Times, a number of local, national and European publications. Through my visibility on social media, I have been invited to share my work receiving opportunities for two upcoming solo shows as well as a number of group exhibitions and international representation. Currently, I have an incredible feature article in an online art publication Art-Trends.
Please follow the link to view: Lori Horowitz ;étude des personnalités et des Environments au sein de la
nature - ART TRENDS (art-trends.com) , an article coming out in a local Long Island publication,
Newsday and this current link to City Life Org. https://thecitylife.org/.../lori-horowitz-march-solo.../.
Lori Horowitz: I have curated many shows over the last few years and have learned so much from the experience. Curating is an artform in itself that combines and understanding of concept along with the appreciation of the skill and intent of the artists; work. It is not always a matter of taste but more about the merit of the work. Combining the visual element of the artwork together to form a cohesive exhibition requires careful examination. A curated show assembles balanced elements of design such as, line shape form texture, color and theme. Similarly, an individual artist would apply these principles to their own work. Here in curating, the pieces of the puzzle are already created with the opportunity to create an even stronger message by assembling the elements. Participating artists have to chance to meet and collaborate, providing opportunities for future shows and an exchange of ideas. We often have art talks about the work and share critique and insights. These shows have led to sales of artwork as well as exposure and publicity.
TNYO: You have been featured in a number of magazines, can you tell us about that experience and how these opportunities came about?
Lori Horowitz: Successfully gaining magazine and public exposure requires hard work and being your own advocate. I have had a number of local publications reach out to me through word of mouth or viewing art shows and studio visits. Over the years I have developed connections with journalists who have followed the progress of my work. They have been generous with publications on-line as well as exposure in local papers and magazines It requires discipline, spending hours of time sending out press releases, and sharing your work through social media while creating artwork in the studio. I have come to realize that if you don’t get your work into the public eye, no one will see and experience it. It seems like an obvious premise but it is truly a balancing act to create and market yourself in a professional manner.
Through mailings and social media contacts I have had articles in the NY Times, a number of local, national and European publications. Through my visibility on social media, I have been invited to share my work receiving opportunities for two upcoming solo shows as well as a number of group exhibitions and international representation. Currently, I have an incredible feature article in an online art publication Art-Trends.
Please follow the link to view: Lori Horowitz ;étude des personnalités et des Environments au sein de la
nature - ART TRENDS (art-trends.com) , an article coming out in a local Long Island publication,
Newsday and this current link to City Life Org. https://thecitylife.org/.../lori-horowitz-march-solo.../.
"Amongst the Lilies"
Mixed-media relief - Copper and brass fiber, encaustic wax, photo, and fiber on gauze
42"H x 54"W x 12"D
Mixed-media relief - Copper and brass fiber, encaustic wax, photo, and fiber on gauze
42"H x 54"W x 12"D
"Rooted In Humanity"
TNYO: Lori if you were not an artist what career path might you have ended up in?
Lori Horowitz: In my previous life I wore many hats always working in the arts. These experiences informed my craft and abilities to create.
My early days as a model maker transformed into a much larger exploration as a set designer and scenic artist for the United Scenic Artist Union, working in exhibit design, theater, film and TV. I learned many skills most fine artists are not taught and incorporate these concepts and techniques in my own work. I shared these skills, teaching at university level for six years before opening the Artspace.
My favorite job was as a creative producer for large corporate conferences and events. I worked in that field for about five years before starting my family and raising my two incredibly talented artists. If I had it all to do again, I would go back to creative production work. There, I had the ability to create large scale sculptural installations and scenery funded with generous budgets. The downside was that all work needed to be approved and specified by a client. It is always a balance of give and take and the lack of ability to create freely was overshadowed by the demand to conform.
Creating your own artwork to reflect and share your own vision is a daunting task. Being an artist is truly a labor of love. To create a serious body of work while simultaneously, sharing work publicly through exhibits and social media takes determination and a thick skin. This can be both rewarding and frustrating, but always hard work. It is not an easy task and sculpture is an especially laborious process to reach a final satisfying goal. That being said, the ultimate would be to do as I have always been doing, just create and use the gift I was given.
Lori Horowitz: In my previous life I wore many hats always working in the arts. These experiences informed my craft and abilities to create.
My early days as a model maker transformed into a much larger exploration as a set designer and scenic artist for the United Scenic Artist Union, working in exhibit design, theater, film and TV. I learned many skills most fine artists are not taught and incorporate these concepts and techniques in my own work. I shared these skills, teaching at university level for six years before opening the Artspace.
My favorite job was as a creative producer for large corporate conferences and events. I worked in that field for about five years before starting my family and raising my two incredibly talented artists. If I had it all to do again, I would go back to creative production work. There, I had the ability to create large scale sculptural installations and scenery funded with generous budgets. The downside was that all work needed to be approved and specified by a client. It is always a balance of give and take and the lack of ability to create freely was overshadowed by the demand to conform.
Creating your own artwork to reflect and share your own vision is a daunting task. Being an artist is truly a labor of love. To create a serious body of work while simultaneously, sharing work publicly through exhibits and social media takes determination and a thick skin. This can be both rewarding and frustrating, but always hard work. It is not an easy task and sculpture is an especially laborious process to reach a final satisfying goal. That being said, the ultimate would be to do as I have always been doing, just create and use the gift I was given.
Beauty From Decay
"Nature's Altar"
Sculpted photo, gauze, encaustic wax fabric, photos, copper and brass screen, and fiber.
8' H x 10'W x 24"D
Sculpted photo, gauze, encaustic wax fabric, photos, copper and brass screen, and fiber.
8' H x 10'W x 24"D
Artist Statement
My work is a study of personalities and environments that reflect interpretations of everyday life, catching moments in time. These pieces internalize and project mundane, often overlooked interactions of individuals in society, creating compelling imagery and an intimate view of “persona”. There seems to be an accepted social disconnect or disassociation that enables us to ignore the undesirable or disadvantaged of society. People often choose how they reveal themselves or are perceived by others, unveiling a facade, discarding moral conscience. These works depict isolation, disassociation and violation, vs. confidence, security, and contentment. My images seek out the moments of quiet humanity rapidly recording the spontaneous unfolding of life. This socio/ psycho study brings light to the attention seekers and the overlooked of our society.
My images digest the posture of individuals while faces reflect their stories. These strangers are subjects in my continuing series of artwork, “Burned into Memory” I have been experimenting with copper and its’ properties, combining drawing along with theatrical lighting. By exploring new media, I have developed a process, “drawing with fire”. These images are burned into copper screening creating translucent images and reflective imagery. Images are burned into copper and work like two way mirrors changing significantly based on lighting. The light either bounces off the copper pieces reflecting a strong image or travels though the mesh showing a translucent after image. I enjoy the challenge of working with a diversity of materials, combining photography, wire, papier mache, encaustic wax and painting. I am passionate about using skills of the past and combining them with innovative methods.
Past artworks involved interactions of individuals, their challenges and social place, but in this new era, my current series reflect social distancing. Instead of depicting individuals in society, I’m finding humanity through nature, a place to which I have unlimited access. My new series ”Exodus” is based upon anthropomorphic root formations. Delving deep within the image, I encourage figures to reveal themselves. Forms emerge from the earth, deeply rooted past struggles and growth. These universal issues can be personal, social or political, reflecting challenges we face globally. We must stand together to find place, belonging and comfort at a time when we are all compromised by seen and unseen forces. We are all one race, equally vulnerable. In this new and current environment, we all must learn to cope and embrace a new perspective finding our place in an unfamiliar frontier.
My work is a study of personalities and environments that reflect interpretations of everyday life, catching moments in time. These pieces internalize and project mundane, often overlooked interactions of individuals in society, creating compelling imagery and an intimate view of “persona”. There seems to be an accepted social disconnect or disassociation that enables us to ignore the undesirable or disadvantaged of society. People often choose how they reveal themselves or are perceived by others, unveiling a facade, discarding moral conscience. These works depict isolation, disassociation and violation, vs. confidence, security, and contentment. My images seek out the moments of quiet humanity rapidly recording the spontaneous unfolding of life. This socio/ psycho study brings light to the attention seekers and the overlooked of our society.
My images digest the posture of individuals while faces reflect their stories. These strangers are subjects in my continuing series of artwork, “Burned into Memory” I have been experimenting with copper and its’ properties, combining drawing along with theatrical lighting. By exploring new media, I have developed a process, “drawing with fire”. These images are burned into copper screening creating translucent images and reflective imagery. Images are burned into copper and work like two way mirrors changing significantly based on lighting. The light either bounces off the copper pieces reflecting a strong image or travels though the mesh showing a translucent after image. I enjoy the challenge of working with a diversity of materials, combining photography, wire, papier mache, encaustic wax and painting. I am passionate about using skills of the past and combining them with innovative methods.
Past artworks involved interactions of individuals, their challenges and social place, but in this new era, my current series reflect social distancing. Instead of depicting individuals in society, I’m finding humanity through nature, a place to which I have unlimited access. My new series ”Exodus” is based upon anthropomorphic root formations. Delving deep within the image, I encourage figures to reveal themselves. Forms emerge from the earth, deeply rooted past struggles and growth. These universal issues can be personal, social or political, reflecting challenges we face globally. We must stand together to find place, belonging and comfort at a time when we are all compromised by seen and unseen forces. We are all one race, equally vulnerable. In this new and current environment, we all must learn to cope and embrace a new perspective finding our place in an unfamiliar frontier.
From the Earth - Photographic Mono- Print Drawings from roots
"Sorrow"
Photo and colored pencil on paper 17 "H x 11"W
Photo and colored pencil on paper 17 "H x 11"W
Nurture Series
"Living Doll"
Mixed Media -Torched copper mesh,
aluminum and encaustic wax medium
48"H x 34"W x 10"D
Mixed Media -Torched copper mesh,
aluminum and encaustic wax medium
48"H x 34"W x 10"D
"All American "
Mixed Media
30"H x 28"W X 20"D
Mixed Media
30"H x 28"W X 20"D
Bio | Lori Horowitz
Lori Horowitz is a NY native with a BFA from SUNY Purchase and further studies in scenic art and set design. In addition to her studio art, Horowitz has worked as an arts educator, scenic designer for theatre and television, and as a curator and gallerist. Each has brought new perspectives and informed the development of her artwork and career while deeply connecting her back to the sculpture she makes, and to the viewers who experience them. Using eclectic techniques and materials, Lori Horowitz explores the overlooked interactions between individuals, exploring their social disconnect as well as common humanity.
Since 2015, she has had ten solo exhibitions and numerous national gallery and museum group shows. She participated in two residency programs in NYC and Cuba. Horowitz is also an independent curator, and former curator/director of Studio 5404 Art Space in NY, curating 25 shows. Currently, she serves on the board of directors of exhibitions for two arts organizations, including the New York Society of Women Artists. She has international representation by Galerie Ludwig Trossaert and her work has been featured in the NY Times, as well as local and international publications such as 1340 Art International, Azucar and Apero Magazines. She is recently a featured artist by Zeitt Blatt media group, video and magazine out of Berlin, Amsterdam and Paris, and is currently featured in Art-Trends,
out of Paris.
Lori Horowitz is a NY native with a BFA from SUNY Purchase and further studies in scenic art and set design. In addition to her studio art, Horowitz has worked as an arts educator, scenic designer for theatre and television, and as a curator and gallerist. Each has brought new perspectives and informed the development of her artwork and career while deeply connecting her back to the sculpture she makes, and to the viewers who experience them. Using eclectic techniques and materials, Lori Horowitz explores the overlooked interactions between individuals, exploring their social disconnect as well as common humanity.
Since 2015, she has had ten solo exhibitions and numerous national gallery and museum group shows. She participated in two residency programs in NYC and Cuba. Horowitz is also an independent curator, and former curator/director of Studio 5404 Art Space in NY, curating 25 shows. Currently, she serves on the board of directors of exhibitions for two arts organizations, including the New York Society of Women Artists. She has international representation by Galerie Ludwig Trossaert and her work has been featured in the NY Times, as well as local and international publications such as 1340 Art International, Azucar and Apero Magazines. She is recently a featured artist by Zeitt Blatt media group, video and magazine out of Berlin, Amsterdam and Paris, and is currently featured in Art-Trends,
out of Paris.