ART PAPERS
March/April 1996

by Glenn Harper

. . . Lowe's works are often like landscape details cut from Italian Renaissance paintings, scenes originally glimpsed at the edges of an allegorical painting. The scene is often blocked at the outer edges of the work by solid, dark color, and this framing device, as well as the scraped texture of the surfaces, provides evidence of Lowe's intention to comment upon rather than reproduce his models in the landscape tradition. Even more of a distancing effect is provided by his titles, which refer not to Renaissance masters or the original Tuscan farms and hills in these scenes but to spaghetti westerns. . .

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