Copyright ©
Lorena Lohr
or applicable right holders.
Which art books, prints and posters are available by and about this artist? Here is a sample of items of interest to a typical collector:
Lorena Lohr, British-Canadian, b.1990
As photographer, Lohr has spent over a decade documenting the overlooked, transient margins of the American landscape. Beginning in 2010, she traversed the American Southwest, particularly desert communities and USA-Mexico border towns in Texas and Arizona, by Greyhound bus, train, and on foot. Bypassing the grandiose myths of the traditional photographic road trip, her work functions as a solitary, anthropological record of vernacular architecture and fading waystations. She focuses heavily on the unglamorous resting stops of the traveler, pointing her lens at dive bars, dusty motels, and desolate transit lounges.
Lohr’s aesthetic is defined by a quiet, meticulous preservation of found scenes. Operating with a highly immediate, democratic approach, she captures the arrangements of objects left behind in public and private spaces. Drawing unexpected inspiration from early Northern European painters like Cranach and Bosch, she translates mundane, man-made forms into harmonious, structurally rigorous compositions. Her signature use of muted, pastel tones imparts a mysterious, ineffable quality to her images, creating a profound stillness that isolates the delicate narratives embedded within these desolate, unpopulated interiors.
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Tonight Lounge is the culmination of British photographer Lorena Lohr’s decade-long exploration of the American Southwest. Traveling primarily by Greyhound bus, train, and on foot, Lohr bypasses the grandiose myths of the American road trip to focus on the forgotten, transient margins of the landscape. Her subjects are the unglamorous resting stops of the working class and the weary traveler: dive bars, dusty motel rooms, desolate transit lounges, and fading diners. In doing so, the project functions as a melancholic anthropological record of vernacular American architecture and the quiet decay of the mid-century dream.
Shooting on 35mm film, Lohr employs a democratic, highly immediate aesthetic that strips away romantic artifice. The images are distinctly unpopulated, relying instead on the traces left behind by human presence, an empty vinyl booth, a glowing neon sign, or a scuffed linoleum floor. The interplay between her muted, sun-bleached color palette and the harsh, flattening effect of direct flash gives these interiors a profound sense of stillness and alienation. Lohr expertly balances the claustrophobic intimacy of these cheap, windowless rooms with the vast, unseen emptiness of the desert just outside their doors.