Lori Hyland is a painter based in Los Angeles specializing in large-scale abstract work. She graduated from the University of Southern California and then attended Pratt Institute and School of Visual Arts in New York.
Her further studies were in the technique of traditional Japanese Sumi-e with Koho Sensei and figurative modalities with Artist Tom Wudl.
Lori's work has been exhibited in galleries and Art Fairs throughout Europe and the United States.
Photo by Andrew Myers
The creative process for me is deeply intuitive.
I've always been fascinated and guided in painting by two important concepts; visual meaning and transformation with every canvas bringing new and unexpected relationships. I try in each painting to use the entire visible color spectrum with its vast palette as nature does even in the desert and gray skies.
Painting is very satisfying. I may start out with a very particular vision or meaning but other forces bring me to an altogether different place.
It is this element that draws me into abstract art rather then representational which brings a never satisfying depiction of what someone else or nature has created. Abstract painting offers me totally individual meaning and endless fascination with the revelations that take place.
Much of my work is constructed by small grids of color placed closely together to refract colors. By themselves, they have little meaning but placed in the whole reveal several levels of symbolism leading to a meaningful statement.
My work becomes a matter of discovery and investigation; creation as well as destruction with every moment new forms taking place."Ancient Memories, Modern Expressions" is my most recent series of paintings. Inspired by ancient iconography from an encyclopedic range of cultures and civilizations, I examine then abstract these symbols. In so doing, I continue my exploration of visual meaning and transformation vis-a-vis the juxtaposition of new and unexpected relationships: the dominant and ongoing themes of my work.
The series began as a literal gift. A scientist, one who works in a very esoteric field, presented me with ancient hieroglyphs and other schematics. Rather than providing any kind of explanation, he left it entirely up to me to interpret them. Although aware the images carried cultural, religious or economic significance, I addressed them denuded of imbued meaning, and used them instead as pictorial inspiration and as a starting point for abstraction. The paintings themselves I commenced with the selection and enlargement of several of these ancient drawings, followed by their transfer to canvas.
This, in turn, initiated a process through which I sought not to reflect an external reality, but to chart the internal.While the resulting works often retain figurative elements, they remain fundamentally abstract-reflecting my abiding interest in color and light and their refraction, as well as in the employment of small grids to form structure.
Additionally, they encompass rediscovered areas of personal inquiry, particularly Jungian archetypes, and novel horizons of enthusiasm, such as celestial snapshots taken by the Hubble Space Telescope (HST). In addition to being some of the most beautiful pictures I've ever seen, these images also reference the continuum between microcosm and macrocosm, and remind me that form regardless of size relies on the same universal building blocks and immutable physical laws. Which leads me full circle.
Is the continuum of Time any different, the connection between ancient, even subconscious memory and its modern manifestation in my paintings? To me, both in concept and in meaning, they express very much the same truth.