Lowell Ryan Projects is proud to present Rock Paper Scissors, a solo exhibition by Cornwall, UK-based artist Arthur Lanyon, comprised of a series of works on paper. Lanyon utilizes a variety of materials, including oil stick, oil primer, acrylic, and charcoal powder, to create gestural, tactile works at approximately 22h x 30w inches in scale. These works continue Lanyon’s exploration of the delicate balance between creation and destruction, control and surrender. This exhibition marks Lanyon’s first exhibition with the gallery and in Los Angeles. An economical palette of predominately primary colors interplay with blacks, whites, and greys on thick 1000gsm handmade papers. Lanyon explains: “ultimately I want these works to have the look of collage without ever being cut or pasted. I use paintbrushes sparingly but prefer a lot of disposable gloves for finger painting. So, these paperworks are a combination of drawing and painting - drawing with paint.” A continual process of building up layers, sanding back, and revising is made possible due to the material depth of the paper. Initially, the paper’s hard, rough texture allows the paint to sit on the surface, however, after sanding, it is fluffy and absorbent. Formal shapes, patterns, and symbols emerge in the works informed by art historical narratives as well as personal and playful reference points. Ultimately, the process of exploration trumps a particular ideology or perspective. “Blind faith has me believing that what I’m looking for eventually finds me. This notion helps me tidy away toys and put drawers of stuff to bed. A trick I play with painting is to lose sight. Sometimes I take off my glasses. Or I use orange-tinted ones to curb the motions of a frenzied line spinning off the edge of an orbit sander. Using the power tool is itself dealing with chaos. Sanding back thick paper ends like a pillow fight – feathers everywhere. To come together, the whole picture first has to fail.” – Arthur Lanyon Arthur Lanyon is a British artist born in Leicester, England in 1985. He lives and works from a studio near Penzance, Cornwall. Known for his emotive and physically engaging approach to painting, his works blend figurative imagery with abstract expression, often exploring the emotional depths of the human experience. Lanyon’s process reflects his interest in altered states of consciousness and the raw simplicity of childlike drawing. He holds a degree in Fine Art from Cardiff University and was featured in Saatchi’s New Sensations exhibition in 2008. His work has since been exhibited at galleries and art fairs such as the Saatchi Gallery in London, UK; Anima Mundi Gallery, St. Ives, UK; CGK Galleri & Kunstsalon, Copenhagen, Denmark; the Untitled Art Fair, Miami, FL; and Zona Maco, Mexico City, Mexico. Lanyon and his work have been featured in publications such as The Guardian and émergent magazine. ____ Lowell Ryan Projects is pleased to present Darkness or the Dawn, a solo exhibition by British-born, Los Angeles-based artist William Bradley. In this second exhibition with the gallery, Bradley explores the emotional and psychological transitions between opposing forces through large-scale abstract paintings, reflecting on his own history and memory in relation to nature's continuous ebb and flow. The title, Darkness or the Dawn, alludes to a pivotal moment of transformation, confronting the tension between unrest and the possibility of renewal. Bradley’s work resonates with the timeless reflections of William Blake and the Romantic poets, who often grappled with the complexities of light and shadow. Blake famously stated in The Marriage of Heaven and Hell, “The most sublime act is to set another before you,” suggesting that the whole experience of light can only occur after we have encountered darkness. Embracing this philosophy, Bradley asks: Can we truly appreciate the dawn without first navigating the depths of night? Through the unfolding of color and form, Bradley seeks a pathway through struggle toward a renewed understanding of self and the world. Bradley’s paintings are characterized by cut-out, canvas-covered geometric shapes protruding off the canvas's surface. Painted gesturally in a rich, brooding color palette, each piece's narrative unfolds through the act of creation. Vivid reds, burnt oranges, and radiant ochres crackle across the canvas, evoking the first light of dawn breaking through a long night. At the same time, deep midnight blues, dark greens, and crimson tones vibrate against them, creating a dynamic tension between light and darkness. He allows the formal structure to evolve before transitioning to instinctual, free-flowing gestures. As the shapes rise from the surface, they embody both void and presence and a delicate balance of embrace and resistance. William Bradley, born in York, UK in 1984, and now based in Los Angeles, creates large-scale abstract paintings and intimate collages. His work melds painterly and sculptural elements, exploring a space between two-dimensional and three-dimensional forms. He earned an MA in Fine Art in Painting from Wimbledon College of Art, UAL, in 2008 and a BA in Art and Design from York St John University in 2007. He has exhibited at galleries and institutions, including Makasiini Contemporary, Turku, Finland; Lowell Ryan Projects, Los Angeles, CA; Galerie Richard, Paris, France and New York, NY; Galerie Kornfeld, Berlin, Germany; EB & Flow Gallery, London, UK; 1969 Gallery in New York, NY; Torrance Art Museum, Torrance, CA; and the Wignall Museum of Contemporary Art, Rancho Cucamonga, CA. His works are included in the collections of Hood Museum of Art, Hanover, NH; Nelimarkka Museum, Alajärvi, Finland; University of the Arts London, UK; and along with several important private collections, including that of David and Indrė Roberts, Susan and Michael Hort, Serge and Ian Krawiecki Gazes, and Carole Serve and Oliver Frankel.