pre-show etching discount SALE!

I've been getting alot of questions about buying these prints lately. Seems that lots of people are interested. Thanks. I'm flattered that you like them and want to see them hanging on your wall so that they can be enjoyed for a very long time.

Having discovered a terrific sale on black metal frames, that lasts for the next two weeks only, I think that I can offer these prints at a discount from now until the show. But, only until then. After that the price has to go back up to reflect the more normal price of framing and archiving. Additionally, only a very limited amount of each print can be sold now at this lower price because I need to have some left over for the actual show.

Ok, here's the deal... everything listed below is in a 9" x 12" black metal frame with plexiglas. You'll note that the actual image size varies, but that is a concious decisioin, part of the plan, part of the art, part of what helps each piece say what it has to say. Each of the prints that you would like to buy, listed right here for you, are $125. This includes the frame and shipping within the continental United States.

Very limited edition original etchings. Free frame. Free shipping. Send me an email to arrange delivery, or simply mail a note, telling me the title of the print that you want, a check, and your mailing address so I can do the framing and send your new work of art as soon as possible. Scott@Lozer.com

titles appear below each image.......



"To Be Run" (3rd state)-----------free framing free shipping


"Ocean Wave"------------------free framing free shipping


"Grabby Wave"-------------------free framing free shipping


"Haystack"----------------------free framing free shipping


"Corner Wave"-------------------free framing free shipping


"Waterfall II" --------------------free framing free shipping


"Waterfall I"----------------------free framing free shipping


"Squeeze"------------------------free framing free shipping


"Rooster Tail"---------------------free framing free shipping



"The Pit (Big Joe)"-------------------free framing free shipping


"Pan Am" (2nd state)---------------free framing free shipping

Act now before they are gone and the price goes back up for the show.
Send the name of the etching that you want to have, with $125, now to:

Scott@Lozer.com
247 Bulls Bridge Road
South Kent, CT 06785

Solo Show at FDU

The best parking is across the street from campus, at the tennis courts. The gallery is on the main floor of University Hall. Everyone is encouraged to check this out.


There will be a great contrast betweed black/white and bright colors, as well as between small and large scale. All the emotional, synethetic implications that are associated with such contrasts; contrasts that exist within the same subject.

The paintings address the following contrasts and relationships:
transparency/overlap
matte/gloss
depth/surface
"real"/synesthetic color
motion/still
liquid/solid

The etchings also work with water as the obvious subject but explore themes in a more traditional depiction of the medium. Beyond the multiple prints of an edition relating to the repeated pulsing and crashing of waves, there was a discovery that a drawing tool works in a much more fluid manner than a paint brush often can. Though paint is more fluid, this more like water, in actuality, the process of drawing does not demand as many interruptions, therefore can continue with much greater fluidity. Additionally, the application of ground, the melting of resin, the application of shellac, sumersion in an acid bath, and many times being rinsed in water, demonstrate many more steps that are LITERALLY fluid, in the process of creating an etching plate.

Both aspects of this body of work (painting and etching) are meditations on water and it's close relationship to my creative process. Breathe in the work from a distance, but please, stand close and really look, for that is where most of my time was spent; where the deep meditation happened; gazing into the layers of paint; focusing on a single line...

The next stage of this ongoing project is called 100 Waves (thus the title of the show), and will continue in a new direction after this show. Therefore the pieces shown here in April are the culmination of the first major phase of this long-term project. Be sure to take this rare opportunity to see it all before it's too late.

thoughtful placement

I feel like this gives some implied feeling of renaissance perspectve. Ok. so it's not linear, but the scale and placement will draw you up to the image, as if you've traveled a bit through space, and the move to the right is really just mimicking the image it self. I have also experimented with placing the image towards the top of the paper to uproot it, let it float a little bit, and even suggest that the top is heavier than the bottom. it's ungrounded, like the top of a wave that will eventually come crashing down (before building back up again, top heavy)

this is more focused. It's a view of the chaos squeezed into a narrow frame. A whole bunch of water is trying to get through a narrow passage, just like a crowd of people all running for the same door. The image is centered, but the dark area suggests a way underneath. Making a move like this takes focus. You have to shut out the periphery or it will get even more confusing. With good focus, the chaos starts to make sense, starts to grow more beautiful, and you can see a way into this safely.

rare, hand colored etchings

I like to color the imperfect prints that are pullled from an edition. It makes the anomolies even more unique. Usually I just save them for friends or special events.

this one is really special to me. I made a drawing, a painting, an etching, and now this hand colored etching of this spot in Corciano, Italy. It is the ancient retaining wall that holds up the hill; the hill upon which a Monastery sits. We could see it from the roof of the studios. Being jet lagged for the first week, I was often up before dawn, so sat on the studio roof and watched this scene emerge from the night's darkness into the warm light of Umbrian morning in September. There really are a set of olive trees that stand out a little bit, in a cross. I just gave them a little bit more of that orange glow from the sun that shines so intensely in the summer. Two of the etchings are colored like this, and two are colored with a more yellow hue that reflects the late summer dry season.

a small "grabby" wave. I like the summer. I love getting out of the water and walking around on the soft, green grass in my bare feet after boating. Someone mentioned that this looked like a plant, so I decided to surround the wave with green grass. This is the only one that is colored.

river water is rarely blue. It is often brown, ochre, green; almost every color EXCEPT blue. This, too, is the only colored version of this etching. It is called "haystack". That is what some people call standing waves that jump straight up into the air, seemingly out of nowhere. I imagine that the first person to give this type of wave the name "haystack" had seen paintings by VanGogh of farm workers harvesting wheat or hay. (or they, themselves, could have been a farmer)

have you ever gone surfing in the moon's light?

work work work

looking to capture the kinetic energy of waves, I've created quite a mess, piling layer after layer after layer of paint upon canvases and paper

acrylics are great for building up transparent layers quickly, letting them flow like the water flows, being able to see what is underneath, how the whole structure is formed.

the oil bars allow the fluidity of drawing. I find it rather funny how the act of creating a rough drawing mark is more of a fluid motion that that of painting with a brush. The brush can more easily create the illusion of fluidity, but the process is often anything but fluid. Drawing, because I don't have to pause to reload a brush with paint, is a continuous, train-of-thought-and-process fluid session of creation.



Since my shoulder surgery in January, I've drawn over 140 waves. And, as I was able to move my arm more than 7 inches, I was able to work bigger. Thank goodness for that. I was starting to go crazy. It's bad enough I can't get in the water yet....

a little winter time inspiration can be gained from all of the surf magazines that seem to be popping up everywhre. Are there really that many surfers? Or are there just that many posers?

framing for my show

April 17 - 28, 2006 at the University College Art Gallery on the Teaneck campus of Fairleigh Dickingson University. (open mon - fri 9:30 - 4:30)
I'm very excited to be able to hang these prints all together, framed. My thesis show last year I was in too much of a rush to get everything framed. Too much focus on getting the bigger paintings finished... but, the prints have sold moderately well for me and I think that they deserve to be framed for this show. There will be an entire wall of these black and white prints. Opposite of the big red 7 piece painting. Should be some interesting contrast. Threat and refuge? Color and black/white? Passion and cold analysis?

I love these two waterfalls. It was fun really getting in there and working the zinc plate with this project; the balance between careful control/manipulation and the letting go to discover what the shellac would flow and how the acid would weather the plate, much like a river does to the bedrock over time. Twin falls at low water, falling onto rock, tumbling down the mountain, plunging into the pool after leaping from the sky.









I have crashed through some big waves in my boat. I thought I'd make one of the big waves really really really small. Because, after all, they all look small from far away, atop the canyon, looking down to find a route around or through the wave. They look small from the shore,when they are way out there, beautiful, non threatening. A giant wave looks smaller than my hand from far away.And then you get closer. You see that the moving water is ripping across some jagged rock, flying into pieces, spraying up into the air in a giant rooster tail. How do you pick your way around this? Do you just go right through it? It's like pushing through the forest. You can't see what is on the other side. Do you remember what you saw from the shore? Is this your first time there? Has anything changed? Head down to protect your face....