In Drift Threshold – her new, emerging body of work – Lowe draws upon a repertoire of
elements rooted in the “ground truth” of empirical evidence and personal history. Through her
multi-layered process, she employs tactics of design (tracing, puzzling, figuring…) to tease
abstract pictorial structures from her visual records of transitory landscapes seen from the air
and lapping sea foam. These composite structures are further activated by the interplay of
color, surface, and ambiguities of space and scale, along with the intrusion of other images and
collaged fragments of dyed leather and wool felt. In the dynamic of these relationships, Lowe
aims to bring attention to the immediacy of tension and play in the visual experience as well as
map the intersections, drifts, and strains between the human-constructed world and natural
phenomena. Color and material play both formal and signifying roles, exemplified by the
fluorescent orange of caution signs, the flat blue of cloudless (rainless) skies, the vibrant blue-
green of infested waters, and the unnatural hues that obscure the origins of the felt and
leather.
Lowe maintains a conscious engagement with art historical touchstones in her practice. Some -
- like Cubism and abstract formalism – are apparent, while others – such as 17 th century Dutch
still lifes or Surrealism – might be less obvious. This new chapter in her work continues an
abiding interest in imbuing formal structures with emotional agency through a range of forms
and materials to prompt associations with our efforts to frame, order, contain, and control the
comforts and threats of an unruly world.

First-person:
In Drift Threshold – my new, emerging body of work – I draw upon a repertoire of elements
rooted in the “ground truth” of empirical evidence and personal history. Through my multi-
layered process, I employ tactics of design (tracing, puzzling, figuring…) to tease abstract
pictorial structures from my visual records of lapping sea foam and transitory landscapes seen
from the air. These composite structures are further activated by the interplay of color, surface,
and ambiguities of space and scale, along with the intrusion of other images and collaged
fragments of dyed leather and wool felt. In the dynamic of these relationships, I aim to bring
attention to the immediacy of tension and play in the visual experience as well as map the
intersections, drifts, and strains between the human-constructed world and natural
phenomena. Color and material play both formal and signifying roles, exemplified by the
fluorescent orange of caution signs, the flat blue of cloudless (rainless) skies, the vibrant blue-
green of infested waters, and the unnatural hues that obscure the origins of the felt and
leather.
I maintain a conscious engagement with art historical touchstones in my practice. Some -- like
Cubism and abstract formalism – are apparent, while others – such as 17 th century Dutch still
lifes or Surrealism – might be less obvious. This new chapter in my work continues an abiding
interest in imbuing formal structures with emotional agency through a range of forms and
materials to prompt associations with our efforts to frame, order, contain, and control the
comforts and threats of an unruly world.