Beck Lowry: First storm
Yossi Milo is pleased to announce Beck Lowry鈥檚 first solo presentation with the gallery, First storm, which opens on Thursday, June 26, 2025. The exhibition will be on view in the Qube through Friday, July 25, and is concurrent with solo exhibitions by J. Carino in the East Gallery and London Williams in the West Gallery.
Beck Lowry鈥檚 (b. 1980; New Haven, CT) wall-hung sculptures combine carved, woven, and painted elements in experimental, process-driven forms. The artist navigates their hybrid approach through intuition, taking visual cues from the natural world and improvising on techniques drawn from a global canon of craft. Lowry鈥檚 multimedia practice hinges on its relationship to the body, becoming charged with meaning through almost-ritualistic physical exertion and the highly laborious nature of craftsmanship itself.
Each of the artist鈥檚 painted weavings begins with a spine- or ladder-like armature, carved from plywood, that serves as the support for a woven plane of thread and fabric. The resulting irregular, undulating surface becomes a site for Lowry鈥檚 instinctive oil paintings, which take cues from proximate landscapes, the sublime aspects of nature, and humanity鈥檚 relationship to it. The artist enshrines each painting in an ornate frame, which is carved and shaped around it before the finishes are put on the entire work together. This concentric process further blurs the distinction between discrete traditions of painting and sculpture and gestures toward a nuanced third category of cross-medium making.
The titular 鈥淔irst storm鈥� draws on Lowry鈥檚 recollections of squalls and tempests, alluding to the expansive sea and swirling winds in an abstracted landscape. Though the work draws on the artist鈥檚 specific memories of family and the Long Island Sound, its gyres rendered in blue and yellow allude to a universal relationship to the sky, a deference to nature鈥檚 awe-inspiring power. Without words, the artist conveys a narrative that is at once personal and primordial.
By working in distinct phases of highly physical creative labor 鈥� carving, weaving, painting 鈥� Lowry references a ceremonial dimension, wherein emotional significance is imbued through regimented time and effort. In the studio, the artist relishes each stage, making clear their fascination with technique and texture in the form of carved marks, recursive pattern, and tactile fibers. Descended from a family of makers, Lowry considers the act of creation a central aspect of their identity.
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Yossi Milo is pleased to announce Beck Lowry鈥檚 first solo presentation with the gallery, First storm, which opens on Thursday, June 26, 2025. The exhibition will be on view in the Qube through Friday, July 25, and is concurrent with solo exhibitions by J. Carino in the East Gallery and London Williams in the West Gallery.
Beck Lowry鈥檚 (b. 1980; New Haven, CT) wall-hung sculptures combine carved, woven, and painted elements in experimental, process-driven forms. The artist navigates their hybrid approach through intuition, taking visual cues from the natural world and improvising on techniques drawn from a global canon of craft. Lowry鈥檚 multimedia practice hinges on its relationship to the body, becoming charged with meaning through almost-ritualistic physical exertion and the highly laborious nature of craftsmanship itself.
Each of the artist鈥檚 painted weavings begins with a spine- or ladder-like armature, carved from plywood, that serves as the support for a woven plane of thread and fabric. The resulting irregular, undulating surface becomes a site for Lowry鈥檚 instinctive oil paintings, which take cues from proximate landscapes, the sublime aspects of nature, and humanity鈥檚 relationship to it. The artist enshrines each painting in an ornate frame, which is carved and shaped around it before the finishes are put on the entire work together. This concentric process further blurs the distinction between discrete traditions of painting and sculpture and gestures toward a nuanced third category of cross-medium making.
The titular 鈥淔irst storm鈥� draws on Lowry鈥檚 recollections of squalls and tempests, alluding to the expansive sea and swirling winds in an abstracted landscape. Though the work draws on the artist鈥檚 specific memories of family and the Long Island Sound, its gyres rendered in blue and yellow allude to a universal relationship to the sky, a deference to nature鈥檚 awe-inspiring power. Without words, the artist conveys a narrative that is at once personal and primordial.
By working in distinct phases of highly physical creative labor 鈥� carving, weaving, painting 鈥� Lowry references a ceremonial dimension, wherein emotional significance is imbued through regimented time and effort. In the studio, the artist relishes each stage, making clear their fascination with technique and texture in the form of carved marks, recursive pattern, and tactile fibers. Descended from a family of makers, Lowry considers the act of creation a central aspect of their identity.
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