t i m o's photostream  

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Untitled (Hunger 2), Tim Lowly © 1996, tempera on ceramic bowl, 7" x 7" x 4"

I rarely use other people's photographs as references for my paintings and drawings. This project - a series of 21 paintings on the bottom surface of traditional Korean bowls - done for an exhibition I had in Seoul, Korea in 1997 is one of the rare exceptions. I had started working on a large painting ( Big Picture) in the class room for profoundly disabled children at Lakeview Learning Center in Chicago. This was the classroom and school my daughter Temma attended when we first moved to Chicago in 1989. The school was closing shortly and in the process of packing up I was given a box of photographs of children who had attended the school over it's history. Looking through the box I had the sense that these children were Temma's kin. As such it seemed appropriate to make paintings based on the photographs.

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Untitled (Hunger 7), Tim Lowly © 1996, tempera on ceramic bowl, 7" x 7" x 4"

I rarely use other people's photographs as references for my paintings and drawings. This project - a series of 21 paintings on the bottom surface of traditional Korean bowls - done for an exhibition I had in Seoul, Korea in 1997 is one of the rare exceptions. I had started working on a large painting ( Big Picture) in the class room for profoundly disabled children at Lakeview Learning Center in Chicago. This was the classroom and school my daughter Temma attended when we first moved to Chicago in 1989. The school was closing shortly and in the process of packing up I was given a box of photographs of children who had attended the school over it's history. Looking through the box I had the sense that these children were Temma's kin. As such it seemed appropriate to make paintings based on the photographs.

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I rarely use other people's photographs as references for my paintings and drawings. This project - a series of 21 paintings on the bottom surface of traditional Korean bowls - done for an exhibition I had in Seoul, Korea in 1997 is one of the rare exceptions. I had started working on a large painting ( Big Picture) in the class room for profoundly disabled children at Lakeview Learning Center in Chicago. This was the classroom and school my daughter Temma attended when we first moved to Chicago in 1989. The school was closing shortly and in the process of packing up I was given a box of photographs of children who had attended the school over it's history. Looking through the box I had the sense that these children were Temma's kin. As such it seemed appropriate to make paintings based on the photographs.

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Untitled (Hunger 11), Tim Lowly © 1996, tempera on ceramic bowl, 7" x 7" x 4"

I rarely use other people's photographs as references for my paintings and drawings. This project - a series of 21 paintings on the bottom surface of traditional Korean bowls - done for an exhibition I had in Seoul, Korea in 1997 is one of the rare exceptions. I had started working on a large painting ( Big Picture) in the class room for profoundly disabled children at Lakeview Learning Center in Chicago. This was the classroom and school my daughter Temma attended when we first moved to Chicago in 1989. The school was closing shortly and in the process of packing up I was given a box of photographs of children who had attended the school over it's history. Looking through the box I had the sense that these children were Temma's kin. As such it seemed appropriate to make paintings based on the photographs.

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Untitled (Hunger 10), Tim Lowly © 1996, tempera on ceramic bowl, 7" x 7" x 4"

I rarely use other people's photographs as references for my paintings and drawings. This project - a series of 21 paintings on the bottom surface of traditional Korean bowls - done for an exhibition I had in Seoul, Korea in 1997 is one of the rare exceptions. I had started working on a large painting ( Big Picture) in the class room for profoundly disabled children at Lakeview Learning Center in Chicago. This was the classroom and school my daughter Temma attended when we first moved to Chicago in 1989. The school was closing shortly and in the process of packing up I was given a box of photographs of children who had attended the school over it's history. Looking through the box I had the sense that these children were Temma's kin. As such it seemed appropriate to make paintings based on the photographs.