She is currently president of the New York Society of Women Artists, which marked its centennial last year and is now in its 101st year. She notes that the anniversary coincides with a difficult moment: “women’s rights and women’s visibility in the arts seem to be moving backwards,” she says.

Leading a community of sixty women artists has made questions of visibility central to her work. “I think a lot about making sure the work women are producing is seen and taken seriously,” Horowitz says. For her, art is not only personal but a way of responding to the world—“paying attention to what’s happening and translating it into a form that invites conversation.”

Lori has shared details about the projects she will be showing and the ideas behind them in a conversation with Fine Art Shippers.

Re.Stance
Curated by Bianca Gittens
100 Sutton St, 2nd FL, Brooklyn

On February 4-5, Lori is among the participating artists in Re.Stance, a two-day interdisciplinary showcase taking place in Brooklyn during New York Fashion Week. The event combines a sustainable fashion show with an art exhibition, marketplace, panel discussions, and live performances, bringing together textile artists, designers, sound artists, and performers.

For Re.Stance, she presents Left Hanging (2025), a sculpture made from copper wire mesh shaped into intertwined human figures. The work responds to its environment: depending on lighting conditions, the copper surface reflects light or allows it to pass through, changing how the figures are perceived. At the same time, shadows cast by the mesh appear as drawn forms on nearby surfaces. A blue patina, created through a chemical fuming process, adds another layer to the material surface.

Lori Horowitz: “‘Left Hanging’ is my reflection on what’s happening in the U.S. right now. There’s a real sense of discomfort and uncertainty about where we’re headed. The process I use allows the patina to actively corrode the metal, which becomes a metaphor for the corrosion of society and the ongoing breakdown and erosion of democracy.”

UnEarthed → reRooting
​​Curated by Nicole Cooper and Danielle Warren
The Great Hall Gallery, First Presbyterian Church, 12 W 12th St

Till February 8, you can also see her work at unEarthed → reRooting, a group exhibition at The Great Hall Gallery, featuring artists’ reflections on the natural world and humanity.

In the exhibition, Lori Horowitz shows Traveling Through the Time of Covid (2021), a photographic monoprint with colored pencil from her ongoing Exodus and Rooted in Humanity series, created during the pandemic. The work grew out of photographs Horowitz took during long walks outdoors—images of tangled tree roots and unusual plant formations that gradually give way to human figures through drawing.

Lori Horowitz: “‘Traveling Through the Time of Covid’ was created during the pandemic, when we were all physically separated. At that time, I found root formations, called cedar knees, along the shoreline. When I first saw them, they looked like hundreds of figures moving together, almost like an exodus. I photographed them in different ways, often close up, to emphasize their anthropomorphic quality. Over time I began to clearly see figures within them and started selecting specific roots to draw. While I love drawing, sculpture feels more natural to me, and the work gradually became more three-dimensional, moving from encaustic painting into sculptural form. The laminating process emerged almost by accident, when a drawing didn’t work and I covered it with papier-mâché paste—and from there, the work continued to evolve”.

Breathe
Curated by Hayley Ferber, Assistant Curator Kristin Reed
Westbeth Gallery, 55 Bethune St.

From February 6 to 22, Lori Horowitz is part of Breathe at Westbeth Gallery, a group exhibition by the New York Artists Circle that explores breath as a shared human experience.

Her contribution, Shrouded (2020), is a sculptural figure built from aluminum wire, woven and spun copper, and gauze. The translucent layers of the wrapped form soften its outline and allow glimpses of what’s underneath. The light, delicate materials shape the viewer’s perception of the figure as much as the form itself. Created during the pandemic, the work carries the imprint of that moment in its restraint and material choices, offering a quiet, pared-back presence within the exhibition.

Lori Horowitz: “‘Shrouded’ was created in 2021, at the height of Covid The gauze feels almost like a burial shroud, a thin skin that both conceals and allows us to see through it. We don’t know the individual stories of these people, but we recognize the shared experience beneath them. The spun copper skin removes any sense of distinction or identity—there’s no separation between who these people are. In that moment, we were all affected in the same way.”

Shed My Skin
Curated by Janet Rutkowski
Art Cake, 214 40th Street, Brooklyn

Lori Horowitz’s largest showing this February takes place at Art Cake in Brooklyn, where she is part of Shed My Skin, a group exhibition bringing together 18 sculptors from February 6 to 22. The show examines how artists work with materials, processes, and change, and Horowitz contributes several mixed-media relief pieces.

Among them is In Limbo (2025), made from copper wire mesh shaped into interacting human figures. The work shifts as you move around it: light passes through the mesh, shadows change, and the figures seem to appear and dissolve depending on where you’re standing.

Lori Horowitz: “‘In Limbo’ reflects a moment that feels unprecedented in my lifetime, when social and governmental systems are destabilized, and many people are left waiting, unsure how these changes will affect their lives. The glow and shadows of the work echo that sense of suspension, pointing to people pushed to the margins, living quietly in a state of waiting.”

She also presents Corrosion of Society (2026), a layered relief that combines sculpted photographs with aluminum, brass, patinated copper, gauze, stone, and organic materials, including plant matter and tree bark. The piece brings 2D and 3D elements together, building depth through texture and surface.

Lori Horowitz: “‘Corrosion of Society’ was inspired by a trip to Yellowstone National Park. Seeing the land there—the unusual erosion, the acidity of the ground, the way certain areas can’t sustain growth—stayed with me. That landscape became a parallel for what I see happening socially. The patinated metal reflects that idea of corrosion over time, while the figures huddling together suggest people seeking strength and resilience in the midst of breakdown and degradation.”

Environmental concerns come through in Piercing the Deep (2026), which combines patinated copper mesh and pipe, photography, aluminum, fiber, and gauze to reference underwater landscapes and marine life.

Lori Horowitz: “‘Piercing the Deep’ grew out of my deep attachment to nature. I’m never happier than when I’m outdoors, walking, foraging, photographing, or diving. I’ve spent a lot of time observing coral reefs, and what I’ve increasingly witnessed is their destruction and decline. This work responds to the impact of drilling and construction beneath the surface, and to the way reefs are reduced to skeletal forms. The copper coral elements reference that process of loss.”

Another work in the exhibition, Drawn to Danger (2024), is an earlier work from the series. through brightly colored, organic forms in metal, photography, and fabric that entice the viewer with their beauty while quietly suggesting vulnerability and risk, using this tension to reflect our fragile relationship with the natural world and our shared responsibility toward it.

Lori Horowitz: “The piece reflects our attraction to brightly colored, seductive forms—things that draw us in even when they’re dangerous. Color becomes both a lure and a warning, echoing how we’re often pulled toward what may not be good for us in the long run.”

Interview by Inna Logunova 

Photo courtesy of Lori Horowitz