Reclaiming the Archive
Yannick Lowery
Written By: Umi Patterson
03/03/2026
Gallery
Philadelphia based, multi-disciplinary artist, Yannick Lowery of Severe Paper works at the intersection of memory, research, and radical imagination. Through collage, animation, cyanotypes, and sculpture, his practice reexamines Black histories and the spaces they occupy; not only as they were, but as speculative tools to question the present and reframe our relationship to time itself.
In a recent discussion regarding his practice, Lowery noted that the title of his project serves two distinct purposes. The first is technical; it refers to the literal act of creating work by "severing" paper. The second is deeper and more pointed. It refers to the content itself.
"I think 'severe' is more of a subliminal shot at people who don't take it seriously," Lowery explains. "I want you to take this severely; like very, very seriously. It’s excessive, but yeah, that’s the nature of the work."
Lowery uses his blade, or "handle," as a tool that cuts through things both figuratively and literally. He avoids the whimsical nature of traditional collage to tackle issues that many in his field avoid. By framing his work as severe, he signals to the viewer that these pieces are not mere decorations. They are intentional strikes against historical erasure.
I'm interested in visualizing a more comprehensive depiction of what it was and, more importantly, what it wasn't. Creating speculative visions of the past to question the present.
Lowery is interested in the fleeting nature of memory held within these urban spaces. His research goes beyond simple documentation. He is on a quest to visualize a more comprehensive depiction of Black life:
While he is widely known for his collage work, Lowery’s practice is truly interdisciplinary. He moves fluidly between animation, sculpture, and cyanotypes. Each medium serves his ultimate goal: to harness narratives and offer alternative ideas about time.
By blending archival imagery with his own photography, Lowery engages in a form of world-building. He uses illustrated proverbs and premonitions to guide his audience through cultural introspection. Through this process, he shifts from being a mere artist to a keeper of time. He proves that the act of severing the past is often the only way to build a clear, radical vision of the future.
