About Me
Luanda Lozano
Visual Artist/Printmaker
Dominican/American, born in Humpata, Angola. She earned a BFA degree in Illustration at Parsons The New School of Design in New York and developed her love for prints at the Robert Blackburn Printmaking Workshop with the Peruvian artist Claudio Juarez.
Her prints are part of several prestigious collections, among them: Kanagawa Museum Print Collection in Japan; Museo Nacional del Grabado, Argentina; Varna Museum, Bulgaria; Montclair Art Museum, New Jersey (Robert Blackburn Printmaking Workshop Portfolio 2000); Library of Congress, USA (Robert Blackburn Print Collection); The Smithsonian American Art Museum (DYPG portfolio Manifestaciones); National Taiwan Museum of Fine Arts and Florean Museum in Maramures, Romania.
Luanda was part of the teaching staff at the Bronx River Art Center for almost a decade, where she taught drawing and printmaking. Other places where she has taught include the Center for Contemporary Prints in Norwalk, Connecticut; Pelham Art Center in New York, Escuela de Bellas Artes in Ponce, Puerto Rico, Museum for African Art, New York and Artist Proof Studio in South Africa.
From 2015 to 2019, she served as co-Vice President of the Manhattan Graphics Center, a print studio located in Manhattan, New York.
Luanda is a member of the American Alliance of Museums, Rockaway Artists Alliance, Robert Blackburn Printmaking Workshop, and Manhattan Graphics Center.
ARTIST STATEMENT
I explore aquatint, collagraph, and etching for my art not because of the inherent multiple images possible, but primarily because I find the process and the graphic qualities of the marks and values most effective for my expressive purposes.
Woven throughout, irregular shapes conjure organic forms that resemble animal skins with shamanistic implications. Faces and anthropomorphic figures hint at social concerns, yet they do not completely address political situations as much as personal and spiritual associations.
I’m deeply concerned about the cultural, ecological, spiritual, and political dystopia, and some of my works address these issues, often with ambiguous metaphors. The result is a dynamic image that changes with the viewers' distance, drawing them in to reveal surprises, emotional power, and subtly concealed content.