The Process

For me, sculpting is a means of personal expression that allows me to react to established parameters of perfection. This is what originally inspired me to work in the visual arts, and it remains my motivation today – more than 25 years later. Through this process, I have learned to not only embrace , but also to love, imperfection.

I find that when I sculpt, I am fully present. This is in contrast to my work as a painter, where I am constantly seeking to evolve and explore new techniques, to exceed what was previously achieved or renew my creative process from scratch. In this constant search, many years ago, I began to discover the possibilities of sculpture. Although my initial interest in sculpture began as a temporary exploration for a specific project, I have now resumed it as a process in and of itself, that I have named: The Magic Process.

The Magic Process allows me to detach myself from space and time. As I fully engage with my sculpture it becomes intimate, emotional, and above all, it allows me to highlight perfect imperfection.

As with my pictorial works, I fall in love with my sculptures. As I gaze at the works again and again, I contemplate the dazling anatomy of the human form. I am inspired by the possibilities of the feminine body, the abundant and generous curves, and the sensuality and innocence they represent. The male form with angular features and defined muscle but very delicate gaze.

Trying to capture the details of each, the characteristics of each body and face, are my main focus at the aesthetic level. But in the end, what is even more important and difficult to achieve, is to reflect what is inside, to suggest what they might think and feel.

The Magic Process is a series of twelve sculptures originally conceived as a painting project. It began to transform when I became aware that I wanted the viewer’s point of view to impact directly on the form as it was perceived, so it was necessary to employ visual effects that can only be achieved through volume.

I use materials of great strength and luminosity such as patinated or polished bronze, with its own light, gold color, creating striking effects of great personality, and polished stainless steel, like a silver mirror that reflects the surroundings. The casting technique used is lost wax bronze.

The Magic Process began as a concept for a series of works but evolved into an idea far larger than its physical expression: a transcendental methodology that invited Lowenberg to re-encounter his craft as a painter and a sculptor. Originally conceived as a painting project, The Magic Process transformed into a series of twelve sculptures when Lowenberg became aware that he wanted the viewer’s gaze to impact directly on the form as it was perceived. As such, it was necessary to employ visual effects that could only be achieved through volume. From there, the process was born whereby sculpting became a means of personal expression that allowed him to react and defy the established parameters of perfection, becoming fully detached from space and time. Of sculpting, Lowenberg notes his full envelopment in the craft. “As I fully engage with my sculpture it becomes intimate, emotional, and above all, it allows me to highlight perfect imperfection.” Where painting for this Artist was a technical exploration of precision and technique, sculpting became a creative process that was entirely renewed. Its focus is on the emotional value of the method itself, as well as the expression of true interior emotion that resulted from the method and could be perceived by Lowenberg himself as well as viewers.

Works created within The Magic Process such as “Monica & Elisa” display an audacious encounter with the human form and the emotion it evokes. just as the Post-Impressionists rejected the limitations of Impressionism, Lowenberg’s style evolved to yet another level: to bypass the restrictions of the two-dimensional form to express the existential quality of the human condition. Of his figurative sculptures, Lowenberg states that “in the lump of clay I can see the form, I can see the potential, I can see the piece. It speaks to me even in the primordial form.” In “Oscar” as in “Regina” the painter’s technical prowess as a sculptor and precision as a translator of human physicality are unmistakable. His dedication to the marriage of organic form and anatomical meticulousness creates a vision of humanity and the perception of the emotion accessed through The Magic Process.