The Kids’ Eye: An Interview with Drew Leshko

The Kids’ Eye is our new series where creative kids interview artists whose work they admire.

We prep — give them tips on proper interviewing etiquette, arm them with a camera and a recorder and then we let them loose.

We’re only there to observe.  The questions are theirs, the interviews haven’t been rewritten to sound like anything other than the probing  journalism of a tween.

Tatianna is 13.  Last summer she stumbled across Philadelphia artist, Drew Leshko’s miniatures at a gallery exhibition.  Her first thought, “Can this really be art?” We assured her it was; she marveled at the possibilities of new mediums she could explore.  Daily Googling marathons turn into allowance fueled trips to craft stores – all efforts to see if she could create her own miniature stories.  When that stopped being enough, we called up Leshko to see if he’d be up for a studio visit.

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Tatianna: So how long does a regular piece take you to do?
Drew Leshko: Well, if we’re talking about buildings, that’s a long process. They take me anywhere from 2 weeks to 3 months, depending on the size of them. If we’re talking about other works, like the dumpsters – those are hard to quantify. They’re my relief when I’m spending two months working on a building, and it’s getting to the point where I want to rip my hair out because I can’t stand looking at them anymore. I take some time off and pull out a little sculpture because I can finish that relatively quickly.

I’ve talked to a lot of different artists and they like to do two pieces at once.
Totally, you have to.

Yeah, it just drives you insane if you don’t.
It keeps you moving at a reasonable rate if you’re trying to be productive, and I am.

Are all your sculptures like…Because I heard you do them from real places. Are they all in Philadelphia?
All the buildings are based on actual buildings in Philadelphia. I start with a photograph that I take and I work to get the main structure of the building. So I’ll get the photograph out and use it to generate all the important parts; like where the beam is, where the awning is going to plug into, where the basement entrance is. After I get the main bones of the building, I put the photograph away. I work off of memory at that point.
A lot of the work has that human element of memory. I’m only trying to make buildings that don’t have that much longer to live because once they’re gone
… They’re gone.

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Did you want to do sculptures of buildings when you first started out as an artist?
No, I made sculptures of water towers — a lot of them. I was making sculptures to become the subjects of photographs I was taking. So, in a gallery setting, there would be both photographs and sculptures.

The idea was to ask the viewer what was going on, essentially — Which came first? Is it a photograph that he’s recreating, or is it a photograph of something that he’s built?

So how did that lead you into buildings?
I moved here (Philadelphia) in 2007 and the environment really informed my work. I think many artists would say that. If you live in the Hudson Valley in Upstate New York, you might be painting trees and fall scenes with the changing leaves.

Yeah… Philadelphia is just full of art. It’s everywhere you look, from graffiti on. Street art is just everywhere.
So, a lot of it came from my environment. A lot of it came from older artwork projects that I admire. Walker Evans, I always speak about him. He was commissioned by President Theodore Roosevelt to document life in the United States after the depression. He went around photographing all these down and out families in the South. He was photographing churches and creating essentially an archive of what was. It’s something real, you and I could go to the Library of Congress now and look at the slides and see portals into life. So, I can’t take photographs, I’m no good at that. I can’t paint…

I think I’m good at a little bit of everything. I can paint really well, I can draw really well, and I can take good photos.
(What you hear now is the ego of a 12-year-old, bearing the confidence that I wish I’d had at that age. Drew is being very patient. Wait, there’s more…)

I think I was born with an artistic side.
You could make a lot of money with those skills.

I think what I was saying; was in the same way that Walker Evans was trying to really capture a feeling and a time period in his project; I’m thinking about my work in the same kind of way.
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Well, if you had to do something different than building your sculptures and your dumpster and your RVs and your water towers, what would you think your options would be?
That’s a tough one.

I am tough – I like it. I want to know everything.
I don’t know if I can answer that. The campers are relatively new for me, I’ve only been working on them for about 2 months. I still have a lot to see through with this project. I plan on having 40 of them.

40? (Astonished)
Not to all be installed at the same place, at the same time.
I’m really interested in artists that pursue serious works, not like an artist that has four paintings and that’s his series – that’s not for me. I want to go over the top until people think it’s totally nuts.

The signs that you put on your buildings, do you copy them and just cut and paste them on?
Some of them I just Google. Most of the time I photograph them on the street, resize them in Photoshop and then I print them out.

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Have you ever thought about teaming up with another artist?
I thought about it, and a lot of people have approached me.

It would be cool if you got that girl who does the Urban Geodes, you know, to put miniature geodes in the bricks of your buildings.
Oh, you mean Paige.
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So what is your favorite piece to create? Is it the buildings, the water towers, the dumpsters or the campers?
I’m really in love with the RV’s right now.

Yeah, they’re neat, I really like them. Have you ever thought about making cars?
I’ve thought about doing some vehicles, but my work is mainly about the temporary relationships we have with things

Like things that aren’t going to be here in 10 or 20 years.
Right. So the buildings…It’s really obvious that they’re not going to be here after a while. For the campers’, maybe the thing that’s not going to be there is their natural environment – like the destinations that you’re traveling to. I think things are shifting in our culture, our ideas about leisure activities.

When I was growing up, my parents had a really crummy Motorhome, and my grandparents had one of these pull behind trailers. We would drive from Baltimore (where I was born) two hours away to the middle of nowhere in Maryland. And we would go to the campgrounds and spend the weekend there. It’s something that I really look back on fondly. It’s a feeling of nostalgia… I think that it’s something people aren’t doing anymore for whatever reason. There’s definitely a new resurgence of camping. There are designer camping shops popping up, but still as a culture, I think something has shifted. I don’t know if I’m right, but it’s something that I’ve been thinking about while doing this work.
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Is it hard working at home? You have a TV down here and the studio space is next to the kitchen – do you get distracted? Do you have any hobbies?
I like to ride bikes but haven’t been able to get around doing that lately.

Anything else? Like learning a new language? You should learn a new language because you’ll need it to open new doors.
You’re right. I should learn German – I’m showing a piece in Berlin soon.

I’m going to learn French. And then I’ll take a trip to Paris.

 

Leskho’s current exhibition Home Is Where Your Park It opens February 26, 2016

Opening Reception
Friday, February 26th • 5:30pm – 10:00pm

Closing Reception
Friday, March 25th • 5:30pm – 10:00pm

Exhibition Hours
Tuesdays, Thursdays, and Saturdays • 12:00pm – 6:00pm
And 7 days a week by appointment: info@paradigm-gallery.com / (267)266-0073

Location
Paradigm Gallery + Studio / 746 S. 4th Street, 1st Floor / Philadelphia, PA 19147

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E is for Eckman-Lawn — Alex Eckman-Lawn

This is Alex Eckman-Lawn’s bio… “Alex Eckman-Lawn is a Philadelphia born illustrator who lives in the gutter and sleeps in the sewer. His work has appeared in comic books, on album covers, book covers, T-shirts, music videos, and posters. He is currently hard at work trying to burn his name into the ground and pull the sun out of the sky.”

Yup, he is that freaking cool.

No matter what medium he’s working with, it’s trademarked with complicated dark overtures layered in emotion. Our personal favorite — his contemporary framed cut paper collage pieces, each layer stacked upon another create a dense narrative that unveils a story slowly being released to the viewer.

At first glance, the narratives of his work seems peppered with themes of loneliness and fear — but the graceful shafts of light and placement of color betray a sense of hope and redemption.  It’s not hard to see the painstaking care and finesse layered in his pieces – so exacting in trying to maintain a compulsive control over chaotic worlds.

Check out the video below to see Eckman-Lawn discuss his process.

Alex Eckman-Lawn on Social Media
Website/Instagram / Tumblr

Alex’s work appears in the following comics:
Awakening Volumes 1 and 2, Popgun volume 4 (Rusted: Faded Signal), Mouse Guard: Legends of the Guard (Leviathan), The Graphic Canon Vol.1 (Forgive Us Our Trespasses), and Little Nemo: Dream Another Dream. He is working on an all-ages adventure book called Thanatos Diver right now.

Colorful Shredded Paper Installations

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Accumulation 2013 Shredded Paper Variable Installation at Moberg Gallery

Artist Travis Rice’s colorful installations are made up of thousands of strips of shredded paper layered in organized chaos. The ceiling to floor installations take on whimsical vibes – the room often looking more like a set for a Seuss inspired photo shoot.

His work creates a sense of stillness in movement; the frozen motion of undulating waves and cascading waterfalls that start feeling like living organisms stun you with blasts of brilliant colors.

“The approach is similar to that of the impressionist painter, but the brush stroke has been replaced by individual thin strips of paper that are the resultant product of a mechanical shredder,” he says. “The constructed forms are meant to imply frozen motion often starting from the ceiling and cascading to the floor.

My installations explore marks as modules that accumulate to create ordered masses. The approach is similar to that of the impressionist painter but the brush stroke has been replaced by individual thin strips of paper that are the resultant product of a mechanical shredder.

My palette is at one moment subjective and in another moment a basic application of color theory, but always gaudy and corrupt. Color allows me the opportunity to interject my cynical sense of humor and infatuation with early Disney cartoons. Ultimately, I see the work as a celebration of composition’s most fundamental element represented in an optimistic, mischievous manner while at the same time maintaining an aspiration toward intellectual purpose.”

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Cotton Candy Cesspool 2013 Shredded Paper Variable Pearson Lakes Art Center Okoboji, IA

 

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Rainbow Dyed Psychedelic Hallucination 2012 Shredded Paper Variable Artstop 2012 Des Moines, IA

Rainbow Dyed Psychedelic Hallucination
2012
Shredded Paper
Variable
Artstop 2012 Des Moines, IA

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Consumable Fragments 2007 Shredded Paper, Galvanized Metal, Pastel and Graphite Drawings Variable Fitch Gallery Des Moines, IA

 

 

Contamination 2013 Mixed Media Variable Moberg Gallery

Contamination
2013
Mixed Media
Variable
Moberg Gallery

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Multiple Universes 2006 Shredded Paper, Stainless Steel Gazing Balls, Pastel on Paper Drawings Variable