艺术家 | About the Artist
Face I, 2019, dry pigment on crepe, 20 x 25 cm
All images ©Johnny Izatt-Lowry & ©Curator-to-go
在英国当代年青艺术家中，约翰尼·伊萨特-洛瑞（Johnny Izatt-Lowry, b.1995）是一位典型的毕业于高等美术学院的绘画艺术家。
他的作品全部采用英国色粉为原媒介，配合适量定型胶加以固定画面；材料使用极其简单纯粹，画面最终呈现的效果层次丰富、感觉神秘。
Among contemporary young British artists, Johnny Izatt-Lowry (b.1995) is a typical one working with a higher education degree in fine art.Pigment, as the original medium in his paintings, is fixed onto paper with fixative. Such a simple choice of medium brings out a rich and inexplicable view.
Face VI, 2019, dry pigment on crepe, 20 x 25 cm
师出传统绘画院校而又超越传统的一点，是他创造性地使用缎纹和雪纺布料作为传统棉麻画布的替代，使表层色粉更易附着和不易褪色的同时，又能使作品在材料体验上有一种亲和感，和疏离的画面内容形成鲜明对比。
Though Johnny graduated from traditional painting colleges, he has been transcending painting traditions by experimenting with unconventional materials. His innovative approach to use crepe instead of canvas allows pigment to adhere to the surface better and preserves its color longer. Meanwhile, this method creates a contrast between an affinity for the material and a sense of detachment stemmed from the subject of the painting.
Face II, 2019, dry pigment on crepe, 20 x 25 cm
伊萨特-洛瑞的画取材自记忆印象和生活物件。像当代许多青年艺术家一样，当他的脑海中出现了可以创作的内容时，他会Google一系列类似图片，再对这些参考图进行分类对比研究，结合自己的感觉认识进行绘画创作。无人的房子、抽烟的手、木块和最经典的“脸”系列，都是他画面中经常出现的元素。
Johnny’s paintings take inspirations from daily objects. Empty houses, hands with cigarettes, wood blocks and the classic “smiling faces” series are typical elements which could be found in his paintings. Like many contemporary young artists, he researches ideas on his mind by comparing, categorizing and analyzing similar images on google. He would then take on his own interpretation on the subject and put it onto paper.
Chalet (At Night), 2019, dry pigment on crepe, 105 x 120 cm
艺术外食研究所对这位优秀而独特的英国本土95后绘画艺术家进行了研究、采访和作品的相关咨询，并将长期关注和支持他及类似艺术家（更多艺术家研究笔记见于文末）。
Curator-to-go interviewed with this talented 95s British painter and investigated his works. We will continue to follow and support him as well as other similar artists (For more artist research notes please check below).
Johnny Izatt-Lowry
精 选 展 览
2020.9 *伦敦个展筹办中
2019 斯莱德 x Heal’s (家居)，Heals，伦敦
2019 原始花园，菲茨罗维亚画廊 (Fitzrovia Gallery)，伦敦
2018 植物，人类，锅罐，收缩项目空间 (Pinch Project Space)，伦敦
2018 田野，ASC画廊，伦敦
2017 软体吞拿鱼，A&V，莱比锡
2016 罗斯金美术学院毕业展，牛津
获 奖
驻 留
Johnny Izatt-Lowry
b. 1995, Durham, UKLives and works in London, UK
Education
2017-2019 MFA, Slade School of Fine Art / UCL, London, United Kingdom2013-2016 BFA, Ruskin School of Fine Art, University of Oxford, United Kingdon
Group Exhibitions ( Selection )
2019 Slade x Heals, Heals, London
2019 Slade Degree Show, Slade School of Fine Art, London
2019 A Raw Garden, Fitzrovia Gallery, London2018 Interim Show, Slade School of Fine Art, October
2018 Plants, People, Pots, Pinch Project Space, London
2018 The Field, ASC Galley, London2017 Soft Tuna, A und V, Leipzig2016 Ruskin.Show Degree Show, Ruskin School of Art
Residencies and Prizes
2019 Desiree Prize in Painting, Slade School of Art
2019 Plop Residency, London
A Still Life on A Table (Detail), 2019, dry pigment on crepe
Face IV, 2019, dry pigment on crepe, 20 x 25 cm
初次见到洛瑞（艺术家原名应作Johnny Izatt-Lowry/约翰尼·伊萨特-洛瑞；此后简称）的作品是这一批2018-2019的“脸”系列，基本均为小尺幅的布面或纸上色粉。画面上若隐若现的同色系表情形状，在色粉叠加处理下产生了明暗深浅的效果。有时艺术家会画出一个“真实的人脸”，五官带有明显或哭或笑的表情特征；有时则只留下了几何块状的部分五官，如眼眶和鼻梁；甚或有时去掉五官，只留下灵魂般的抽象表情本身。
The first Johnny’s work we saw is the “Face” series from 2018-2019, which are mostly pigment on crepe or paper in small-scale.Layered by pigment and presented in uniform tones, features loom in the picture as light and shade blend softly. Some of the faces show “real” expressions of crying or smiling; others only leave features like eye sockets and nose bridges representing in simple geometrical shapes; a few of them even remove clear markings of facial features and only portray the underlying expressions.
Early work I & II, 2018, -
“脸”系列有这样一种特殊魔力：当观众乍一看到这些五官或表情时，大概率会觉得“嬉皮”、“魔性”，尤其是在网路上看到这些作品图片时，平面感取代了作品本身的细节肌理；但当人们刷完手机时，会惊觉脑海里确乎印有洛瑞的色粉笑脸了：这些深深浅浅的印迹极其简单却又极其强烈的抓住了你的视觉印象，让你开始好奇他是怎么做到的、用了什么材料画这些画，他的魂魄般的画面符号又想要表达些什么，等等。
“Face” series has this special charm——When audiences firstly encounter these faces or expressions, they have this impression of “hippie” or “ghost”. Especially when these works are shown online, pictures flatten the details and textures. When audiences look away from their screens, images of Lowry’s pigment faces have already left traces in their minds. It made you wonder how he grabbed your attention with this simple and yet strong images, which materials he used to create this characteristic fuzzy effect, what he wanted to talk about through these symbols…etc.
"Stoney Faced", 2019, dry pigment on crepe, 20 x 25 cm
我也在被迷住后产生了同样困惑，在探访洛瑞位于伦敦西南的工作室后终于得到了一些答案和体悟。在非常整洁有序的工作室里，有他的画架、工作台和作品展示墙，关于色彩实验的研究小稿也被整齐地贴在了一面挡板上，每一张都配有工整的手写标签，上面写着各种英式颜料的名字。工作台上、地上、小桌板上都有着他精心调配好比例的色粉碗碟，创作时他会以一种“绝对匠人”的极度耐心和专业敏锐度去对待画面上的每一个细节；因为色粉的特殊性，每一笔都是无法再被修改的。
I was puzzled by the same questions. I found some answers and gained new understandings after a visit to Johnny’s Studio in Southwest London. Easels, working tables, displaying walls are arranged orderly in his studio. Researches and experiments on color are documented by hand on pieces of paper and pasted onto a board neatly. He writes down names of various British pigment on these labels by hand. On the tables and ground are trays and bowls with his carefully hand-making pigments . In an absolute craftsman spirit, he treats every detail in the frame with extreme patience and professional observations. Because of the characteristic of pigment, every stroke cannot be corrected after it’s drawn.
A Cigarette with A Smile, 2019, dry pigment on paper, -
“脸”是洛瑞在斯莱德美术学院读研时的创作系列。1995年出生于英国杜伦的他，学生时代相对很多人来说是顺利的、也是平静的。日常生活中的很多东西，在他看来会更类似于一种“多重意义的符号”，比如笑脸、比如哭脸、再比如任何有表情的五官或没五官的表情等。来自记忆和印象中的这些画面元素，在洛瑞的色粉世界中渐渐产生了扭曲与变形，带来的疏离感和荒诞感却也恰好能够击中很多观赏者的情绪共鸣。
“Face” is a series began when Johnny studied in Slade. Born in 1995 in Durham, Britain, Johnny passed his schooldays relatively smoothly and peacefully. In his eyes, many daily objects are more like symbols with multiple meanings, for example, smiling faces, crying faces, any faces with expressions or simple expressions without facial features…etc. Elements from memories and impressions are distorted in Johnny’s pigment world and evoke a sense of aloofness and absurdity in the audiences.
A Suit, 2020, dry pigment on paper, -
就在伦敦疫情爆发前，洛瑞如期邀约了“外食研究所”参观他的工作室以及为下半年首次个展创作的新作品。
工作室疏密有致，坐落在一栋三层楼高的小公寓内，洛瑞的工作室在顶楼。不高的层高和室内暖黄色的照明灯一下将人的感觉拉回了简单温馨的“家”和“卧室”，瞬间印证了艺术家的作品除了他们的个人因素外，还或多或少受到不容忽视的创作环境因素的影响。
Right before the outbreak of the coronavirus in London, Johnny invited Curator-to-go to visit his studio and have a glance of new works that for his first upcoming solo exhibition later this year.
His studio locates on the top floor of a three-floor English apartment. Limited floor height and warm yellow lights made me almost feel like inside an ordinary and welcoming “home” or “bedroom”. The interior reflects artists' works are not only influenced by his personal experience, but also his/her working environment.
Studies on paper, 2018-2020
工作室中的作品展示区域中除了非常吸引人眼球的“脸”系列之外，还有各式“静物”、“衣物”和他独特的平面“花墙”。
In the studio’s display section, there are the iconic “face” , “still life”, “clothes” and “flower” series.
Studies on paper; Pigment in the studio
利用色粉这种非常原始的材料，佐以适量的胶着媒介或俗称定画液，洛瑞在平时人们定做衣服时使用的缎纹、涤纶和雪纺布料上进行创作；除了有时固定布面或纸张所用的木板外，没有再多增加任何材料。
He combines the traditional medium, pigment, with fixative and draws on satin, terylene and chiffon, those fabrics that usually be used for clothes. Besides wooden boards for fixing fabrics and paper, he does not use any other materials in his works.
"Pigment Study", 2020, artist's studio
如同“脸”系列一样，洛瑞画笔下的客体物也带有一种独特的模糊疏离感。将观众拉远至画面以外的同时，又唤起了另一种平行时空的记忆和感知，熟悉又陌生。不同于上期研究笔记的Enya Lachman-Curl (研究NOTE | Enya Lachman-Curl 绘画影像 "DIVE-深潜") 其能够将观众吸引入她漫无边际、视听触三位一体的沉浸式体验作品中，洛瑞意将观众限制在“视觉”这唯一的通道，通过本能地不断接近“迷雾中的真实”来让观众重新回归单一的感觉世界，重新思考主客体间的关系、经验与想象的互噬。Like the “Face” series, Johnny’s objects have a peculiar obscurity and remoteness. On the contrary to Enya Lachman-Curl, who builds an endless immersive sensual experience by inviting audiences to interact with eyes, ears and hands, introduced from the last research note (CTG NOTE-03 | Enya Lachman-Curl "DIVE"), Johnny limits his audiences to perceive his works only through eyes so that they focus on one single sensation. With the intuitive curiosity for the reality concealed behind the blurred image, audiences reexamine the relationship between object and subject and the merging of experience and imagination.
“Some Logs” and detail, 2019, Pigment on crepe, for "Slade x Heals furniture" exhibtion
展览漫游 | Exhibition Wandering
Face IV & Chalet (At Night), 2019, Group exhibition at Slow_install, London作为一名刚从院校毕业的年青艺术家，洛瑞有一种伦敦学生鲜有的从容，也有一种英国青年都有的韧劲。他乐于整日沉浸在自己的工作室中进行研究和创作，也遵循着一套“朝九晚五”的作息：到点去工作室“上班”，非常专注的做完今天最想做的事；到点“下班”，坐上伦敦巴士回家。作为艺术家，洛瑞是勤奋自律的，在他和他的作品身上可以看到同样一种绵长稳重、丰富有趣的特点。
As a recently graduated young artist, Johnny has a rare confidence not usually shown in London students but a familiar perseverance common in every young British man. Johnny is a diligent and self-disciplined artist. He spends his day researching and creating in his studio and follows a “clock in clock out” routine: he goes to his studio to finish his “job” of the day ,“gets off from work” on time and takes bus home. The same calmness and humor could be found on him and his works.
Trees, 2020, dry pigment on paper, 100 x 120 cm
从伦敦知名艺术院校斯莱德荣誉毕业后，他不紧不慢地创作着。有时因为作品太受欢迎常常都没有足够的作品来举办个展。由于工作室的光线总是偏暖，在用色粉画一幅画的时候，他常常会拿到不一样的光线下进行对比，反复思考后再落笔。当画面出现有意无意深浅不一的印迹时，难以把控的材料和“不完美”的处理反而显得画面十分生动。
Graduated from one of the best London art college, Slade, he continues to produce works in his own pace. Some popular works were quite welcomed before he had enough of them to prepare for solo exhibitions. Because the lights in his studio are relatively warm, he needs to compare the colour under different lighting conditions when drawing with pigment. Therefore, the final works have uneven light and dark traces either by design or accident. The “imperfection” from his technique and intractable quality of materials make the image even interesting and vivid.
Still Life on a Rug, 2019, dry pigment on paper, 130 x 100 cm
外食还有吗? | What's More
A Still Life on a Table, 2019
Field at Day, 2019, Pencil on paper, 15 x 21 cmField at Night, 2019, Pencil on paper, 15 x 21 cm
“Field and Animals”, Pencil on paper, 15 x 21 cm
Study for Chalet (At Night), Pencil on paper, 15 x 21 cm
Artist studio. Appreciation to ©Johnny Izatt-Lowry
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