At just 23 years old, Lorenzo Amos is already challenging conventional notions of artistic identity with his deliberately diverse approach to painting. The New York-based artist's debut solo exhibition at Gratin last fall showcased works so stylistically varied that viewers might assume they were created by multiple different artists. Some pieces featured the bold, thick brushstrokes reminiscent of Abstract Expressionist masters, while others displayed the cool, detached compositional style associated with David Hockney's portraits.
This artistic versatility is not accidental but rather a deliberate choice that reflects Amos's philosophy of what he calls 'Material Realism.' According to the artist, this approach occurs 'when an image becomes inseparable from the substance that makes it.' For Amos, painting is fundamentally about the medium itself rather than adherence to a singular stylistic approach. All of these diverse perspectives converge in the intimate space of his living room-slash-studio, where both the quiet moments and chaotic energy of his evolving artistic language find their foundation.
When asked to describe a work that captures his essence as an artist, Amos points to a recent painting of a seated figure that he considers 'a quiet summary of everything I believe in.' He explains that in this piece, 'the space around her carries as much weight as the figure itself—the wall, the traces of color, the atmosphere between things.' This attention to the relationship between figure and environment reflects his broader artistic philosophy.
Amos conceptualizes painting as 'a living surface, one that records every movement and hesitation that built it.' In his view, successful artwork functions 'less as a depiction than an imprint—paint describing itself, and the world it comes from.' This philosophy underlies his Material Realism approach, where the physical properties and application of paint become as important as the subject matter itself.
The young artist's approach to his craft has been influenced by unconventional mentorship. He credits his friend Alex, who has tattooed his entire body, with teaching him that 'sometimes the worse you do something, the better it becomes.' This philosophy of embracing imperfection and 'letting go of control' has become central to Amos's artistic practice. He views his ongoing tattoo collaboration with Alex as 'part of the same language of marks and mistakes' that informs his painting.
Despite his experimental approach, Amos maintains disciplined studio practices. He adheres to a strict '9 to 5' work schedule and considers his iPhone an essential, if underrated, studio tool. When asked what he would create if given $150,000 with no restrictions, his answer is characteristically direct: 'A painting.' This response underscores his fundamental commitment to the medium despite his stylistic versatility.
Amos's artistic influences span both classical and contemporary masters. He expresses particular admiration for Pierre Bonnard's intimate interior scenes and bathtub paintings, wishing he had created 'any nice Bonnard.' His dream dinner party guests reflect his eclectic tastes and interests: Andy Warhol, David Bowie, and Nina Simone—figures who, like Amos himself, defied easy categorization in their respective fields.
The artist's inclusion in CULTURED Magazine's 2025 Young Artists list highlights his emergence as a significant voice in contemporary painting. His rejection of a singular artistic style in favor of Material Realism represents a fresh approach to painting that prioritizes the physical and conceptual properties of the medium over stylistic consistency. As Amos continues to develop his artistic practice from his New York studio, his work challenges viewers to reconsider their expectations of artistic identity and the relationship between substance and image in contemporary art.
