“In his large format, photorealist works, Lewis is interested in the intersection of virgin light and desecrated space. Decaying warehouses, fallen planks, splayed vectors of white light ignite the space and shift the focus from destruction to renewal. Like many post-Recession artists, Lewis is fascinated by the decay of modern spaces. His narrative is impacted by works like 2008’s Til We Find the Blessed Isles Where Our Friends Are Dwelling, a wall-size piece that riffs off Emanuel Gottlieb Leutze’s Washington Crossing the Delaware. Lewis’s work reimagines this iconic piece, addressing modern issues of immigrant identity and a “melting-pot” value system of identity. By placing works like this in concert with his more recent series, displays the breadth of the artist’s technical ability.
Another facet of Lewis’s work is the attention he also pays to the reverse of his canvases. What many artists leave naked or treated as an afterthought, every canvas of Lewis’s contains a work within a work: he paints and hand-stencils miniature tableaus on the back of each painting (which he refers to as “logos”) with the work’s relevant information. “