HENRY LOURIS




Titanomachy, 2021. Etching. 14 × 20 in.
Untitled, 2020. Etching. 18 × 24 in.

My work contemplates infinite states in which not only all possibilities occur at once, but all things are both opposite and equal. This is a cyclical scenario in which boundaries between things dissolve into one before splitting and starting again. I engage in this moment of transition between unification and separation by depicting the confluence of different artistic genres and historical methods. By engaging in something that is both monolith and multitude, my work alludes to both my metaphysical and art-historical involvements.

I’m interested in a constant back and forth between formation and dissolution. This manifests itself in my work through perpetual erasing and redrawing, building a structure of residue and continuing to pull more images out of it. I often begin with an allover gesture drawing and destroy it in some fashion, working out of the remnants with images; the result is semi-body parts and humanoid landscapes. I continue this process of destroying and rebuilding the image until I have something that’s in between dissolving and forming. Through etching, I am able to continually pull forms in and out to achieve this effect.

Working this way leaves some room for chance in the building of the image. I look for a state in which the piece has taken on a life of its own and hopefully reveals a subconscious aspect of myself that renders the artistic process a means of self-discovery. When developing a project, I generate ideas that I could never access otherwise. Therefore, printmaking helps me realize that I have no sense of my intellectual limits and spiritual boundaries, and I continually open myself to new personal and artistic discoveries.