Laura Owens is a highly experimental artist whose works are playful, questioning, unconstrained by canvas and often site-specific. Combining painting, digital composition, use of found objects, collage and drawing, her artwork floats between abstraction and figuration.
Laura Owens was born in Euclid, Ohio in 1970, a small town which she remembers as being “really conservative”. She studied at Rhode Island School of Design (“I felt so much better as soon as I got to art school,” she has said) and then at California Institute of the Arts, gaining her BFA in 1992 and her MFA in 1994.
Laura Owens’ is an abstract painter who uses figuration as a formal device. Her artmaking process is experimental but also meticulous: elements are hand-produced in her studio and could include multi-layered silkscreen prints, moving parts or audio. “I’m really interested in heterogeneous surfaces,” she said in 2020—she and her team will mix paint and other elements to create different textures and levels of gloss, matte and density. Continually questioning the possibilities of painting, Owens integrates her artwork into the space in which it is displayed, using entire walls and encroaching into ceilings.
Yes, Laura Owens has always worked with assistants. Many of her works are large-scale, so even moving the canvases requires more than one person. Her assistants also work with her on experimenting with mixing paints with oils, or silkscreen ink with Flashe, in order to create variations in texture.
Laura Owens’ practice is highly experimental, so identifying influences is not easy (or perhaps necessary), although some of her hand-made wallpaper is inspired by Chinese and Japanese art. She has said that she is influenced by her peers, and the context in which she finds herself making art, as well as the exchange of ideas.
There is often much more to Laura Owens’ artworks than there first appears. For example, in Untitled (2013), a painting she exhibited at MoMA’s The Forever Now: Contemporary Painting in an Atemporal World (2014), she added speakers to the stretcher bars, which played music randomly. In her 2025 solo show at Michael Marks Gallery in New York City, she hid entire rooms behind unmarked doors, and within one of those rooms, doors and flaps hidden in the walls revealed miniature paintings.
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