Heather
Lowe Stereopaintings
LA Artcore Brewery Annex
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The precedents are
Fischinger, Dali, and also (it will be seen) Duchamp, who cultivated what
Oliver Wendell Holmes christened the stereograph, a card with two pictures
held in a viewer. The effect is properly a
veritable perspective, as in the numerous cloud studies conveying a
projection of cloud masses advancing across the sky. Two studies for Winslow (2001) work
up cloud patterning and cottonwoods separately; these are combined in the
larger painting. The multiplanar
effect sometimes springs color elements off the picture surface to create new
relationships. Winslow, acrylic on canvas, 24 x
36”, 2001 |
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35°N 110°W
(2001) represents a starry night view with clouds and hills. The searing combination of a moonlit sweep
of clouds from behind a backlit mesa against the profusion of
accurately-rendered star globules is lapis lazuli and ebony bespangled. 35°N 110°W, acrylic on canvas, 24 x
36”, 2001 |
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Morning in Los Angeles (2001)
is the subtlest perspective, a planar construction distantly related to
Lundeberg, showing the complicated diffraction of the shifting sky at sunup. Morning
in Los Angeles,
acrylic on canvas, 24 x 36”, 2001 |
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Added to this is an array of stereo cards, some
entirely painted and then reproduced as multiples, most photographs with
painted or electronic alterations.
These have considerable activity as works of art, creating genuine 3-D
vistas or incorporating diverse elements as a complex image, or simply
representing a candid still life that echoes Morandi, drily. The Ambassador (2002) combines part
of an earlier moiré painting with photographs of a wall relief at that grand
hotel and cityscapes. It gives you a
comprehensive idea of this medium, not far from Duchamp’s Étant
Donnés. The
Ambassador,
stereo card, mixed media, 2002 |
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