EXHIBITIONS | Night Windows

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Night Windows

Bruce Evans & Natalie Lowe | Jewelry, Metals, Sculpture & Painting

January 29 – March 14

Receptions:

Opening reception: February 6 | 5-8pm
Artist Talks: February 6 | 6:30pm
Closing reception: March 6th | 5-8pm
Artist Talks: March 6th | 6:30pm

Night Windows : Private Worlds

In the quieter months of winter, Gravers Lane Gallery debuts Night Windows, an introspective exhibition pairing the sculptural metals and jewelry works of Natalie Lowe with the photorealist paintings of Bruce Evans. Together, their practices explore the tensions between interior and exterior, seen and unseen, intimacy and distance.

Borrowing its title from the luminous glow of windows after dark, Night Windows contemplates the psychology of observation and the quiet narratives that unfold at the edges of private life. Lowe’s intermedia sculptures and metalsmithing examine boundaries, longing, and the poetics of domestic space—miniature architectures shaped by loneliness, nostalgia, and the material language of the everyday. Evans’ meticulously rendered airbrushed paintings push photorealism into the realm of the uncanny, capturing suburban stillness, emotional ambiguity, and the surreal clarity of a moment suspended in time.

Craft intersects both artists’ practices: in Lowe’s transformation of structural forms into wearable or sculptural objects, and in Evans’ mastery of light, focus, and layered transparency. Their works raise questions—what happens when a couch becomes a brooch? Can a painting become the imagined photograph of a dream?—inviting viewers to consider how objects, images, and interiors hold the emotional weight of memory, desire, and quiet observation.

Media + Press

Natalie Lowe

ABOUT THE ARTIST

Natalie Lowe is an intermedia artist, metalsmith, and sculptor based in the Midwestern United States. After receiving her BFA in metalsmithing from Southern Illinois University-Edwardsville, she decided to pursue her MFA at Ball State University, where she began experimenting with installation and mixed-media sculpture. Her thesis, House Dreams, is installation-based work influenced by the suburban landscape of her childhood, a fascination with miniature, and the loneliness of contemporary life. More broadly, her life’s work contemplates longing, privacy, intimacy, and interiority, existing between adornment and sculpture. Over the course of her career as an artist, she has won multiple awards in juried exhibitions, exhibited work nationally, and has been the recipient of multiple grants and fellowships. She is currently a Visiting Teaching Professor of Metals & Jewelry and Foundations at Grand Valley State University.

ARTIST STATEMENT

Having grown up in a suburban landscape, I am inspired by the spoken and unspoken boundaries I encountered there and the quiet distance I came to expect from our neighbors. Property lines and street curbs determine the path home, as dim streetlights reveal fragments of each house in passing. Passersby are beckoned to gaze into lit windows, only for their views to be obscured by curtains and blinds.

In this work, I have reflected upon the material reality of typical suburban structures and their interiors, alongside the dreams we harbor for ourselves and the private lives we imagine for our neighbors. As a shelter becomes an extension of the self, we adorn our homes with that which reminds us of who we were, who we are, and who we hope to be. It is this social dialogue and its conflicts, between our fantasies and realities, that this work explores.

Ashtray Brooch | Natalie Lowe

yellow half | Natalie Lowe

White House | Natalie Lowe

Parquet | Natalie Lowe

It’s better this way | Natalie Lowe

House Dreams I | Natalie Lowe

Fan Brooch | Natalie Lowe

Couch Brooch | Natalie Lowe

Cigarette Brooch | Natalie Lowe

Brown House | Natalie Lowe

Blue House | Natalie Lowe.jpeg.jpeg

Bruce Evans

ABOUT THE ARTIST

Bruce Evans earned his BFA from Penn State University in 1973. In 1976, he left his creative work at the university’s PBS-TV affiliate (WPSX) to pursue painting full-time. Since the early 1970s, Evans has developed a distinct visual language rooted in photorealism, surrealism, and a highly refined command of the airbrush. His paintings—detailed landscapes, cityscapes, still lifes, and scenes drawn from everyday life—engage the viewer through meticulously controlled light, shadow, and focal depth. Not competing with the camera but embracing it as a tool, Evans uses photography, Photoshop, and composited imagery to shape his ideas before painting. He begins with an airbrushed monochromatic underpainting, then applies multiple layers of transparent color to create depth, luminosity, and a sense of the uncanny. By manipulating the depth of field—selectively sharpening or softening areas beyond the limits of a photograph—Evans creates images that appear photographic but are imaginatively constructed. His work has been exhibited nationally and internationally and is held in numerous private and corporate collections.

ARTIST STATEMENT

On some level, I am always painting. A walk in the woods, a round of golf, a conversation with a friend, or just staring out of the window, the door is always open for an idea that inspires the next work. Once an idea takes shape, the painting is executed with hyper-focused attention to lighting and detail, with every hair in place, every curve, and every glint of shadow exactly as nature demands. I know the work is going well if, during the process, I lose all sense of time and self. Painting is just one of many ways to communicate ideas. Some people express their imaginative thoughts through writing, I paint.