many years and countless miles of driving, these roads can imply speed that mandates intense awareness, but at times they are contemplative and eerily reminiscent. As with the portraits, these are not as much representations of roads as they are existential representations of psychological space and time travel. In keeping with the adventure that roads suggest, I respectfully maintain a sense of mystery and suspense of what lies ahead. Most viewers will not know who the people depicted in Lowe’s new paintings are, but they include his wife, a long-time co-worker at the art services company he founded more than thirty years ago, and a pair of sisters from the Catskills. They are to some extent inscrutable, but depicted directly and honestly. Their features, accessories and environments are still stylized but less so than the earlier portraits and fictional characters. I think that Robin Lowe has come to a measure of maturity in his life and work that allows him to set aside narrative and address his subjects directly using the surfaces of these large canvases to bring to life individuals with thoughts, experiences and identities uniquely their own. Jill Weinberg Adams New York, December 2017