“Amy Lowry’s oil and watercolor floral portraits depict a narrative arc of biological existence, from bud and bloom to ripeness and ruin, in a single bouquet. It is the fullness of this lifecycle that compels Lowry to observe, compose, and paint these flowers. And here we are—existing as we do, breathing and breeding, growing and yielding, always in nature and of nature too.

Lowry grows the lilies in her garden outside of her art studio in Camden, Maine. Although a daylily’s blooms last just a single day, the genus has thrived for centuries. The ancient Chinese cultivated daylilies as a pain medication even before they developed a written language, as if they knew by instinct that beauty could soothe suffering. We, too, do not question the impulse to push our faces into a flower. It is an intimate exchange. As we inhale, Lowry’s flowers exhale. Look closely and you will see a plume of energy releasing from a virile stamen or sighing from a spent bloom. This is its life force, or qi, which gives expression to its unique form, and to ours. It eventually expends its mortal container and flees. “The force that through the green fuse drives the flower,” wrote Dylan Thomas, “drives my green age.”

The artworks exhibited in “The Force” are the culmination of Lowry’s yearlong exploration of painting in watercolor. After studying under Susan Van Campen, a master watercolorist based in Thomaston, Maine, Lowry gained an intimate understanding of the medium’s subtle characteristics. She harmonized these insights with her own life and artistic experiences, and now presents the classic botanical genre infused with personal symbolism. The daylilies, milkweed pods and other blooms have become a natural extension of Lowry’s 20-year career as a working artist.”
Jason Foumberg