or the ambiguity of image destruction in a poison field

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Exhibition on view through Friday, August 27th, 2021

photo credit: Amanda Tipton Photography

Artist Statement

I have this on-going side agenda to push creativity beyond the conventional art object and space as a strategy to surprise people into loving art. My first professional art exhibit was a sound piece that took place in an elevator at Art in General,  an alternative space for emerging artists in downtown New York City. Iconoclashgiftsfeld, or the ambiguity of image destruction in a poison field was originally conceived of as a street tourist kiosk to analyze the destruction of monuments and the power of the image. I took the position of an archeologist and hence dug up as many images on the internet regarding modern iconoclasm of the past thirty years. I then reproduced the images and video footage on tourist items (t-shirts, caps, mugs, postcards and key chains) at tourist prices. It’s not the most lucrative art sales model, but completes my commitment to disseminating new perspectives on our contemporary social climate with non-traditional art forms.  

Angie Eng was born in San Francisco, California and recently relocated from Paris, France to Boulder, Colorado to pursue a Ph.D. on Kosmorganic aesthetics in the intermedia arts program at CU Boulder. Prior to Paris she lived and worked in New York City for 15 years developing a professional art practice on expanded media and installation art. Although known for her experimental video performance and installation, she was trained as a painter at UC Santa Barbara. Light, color, pattern and gesture continue to inform her work that have manifested in many genres such as AV performance, video art, sound art, conceptual art, and new media. Earning her label as a ‘peripatetic artist’, this year she worked on a sound walk, an audiovisual mapping projection, an interactive sound poetry installation, a series of paintings highlighting 36 landmark civil rights cases,  a public art project of recycled materials in conjunction with Iconoclashgiftsfeld for Leon Gallery.  Her work has been presented worldwide in venues such as The Whitney Museum at Philip Morris, Lincoln Center, The Kitchen, New Museum of Contemporary Art, Rensselaer Polytechnic Institute, Eyebeam Art and Technology Center, Roulette Intermedium , Bronx Museum, Artists Space, Anthology Film Archives, Le Cube, CNES, and Cité de la Musique. She has received numerous awards and commissions for her work from New Radio and Performing Arts, Harvestworks, Art In General, Lower Manhattan Cultural Council, New York State Council on the Arts, Jerome Foundation, Alternative Museum, Experimental TV Center Finishing Funds,  Foundation for Contemporary Arts, and the Boulder Arts Commission. 

You can read an essay written by Jillian Blackwell here

Orders for merchandise can be placed by sending an email to: ifoundleon@gmail.com

Please specify if you would like:

Baseball Cap $34.99

Coffee Mug $19.99

T-shirt $49.99.

For T-shirts please indicate size: S, M, L, or XL.

Please specify which saying you would like printed:

  1. Buddha
  2. Columbus
  3. Franco
  4. Gaddafi
  5. Gandhi
  6. Lenin
  7. Leopold
  8. Rhodes
  9. Robert E Lee
  10. Saddam

entangled // embodied – Jullian Young

MFA Exhibition – One week only

Opening Reception – June 26th, 6 – 11pm.

On view through July 3rd.

Sunday June 27th – Noon – 5pm

Monday & Tuesday June 28th & 29th – by appointment only. To reserve and appointment send request to: julliandyoung@gmail.com

Wednesday – Friday, June 30th thru July 2nd – 10am – 6pm

Saturday July 3rd – Noon – 5pm

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Artist Statement:
entangled // embodied investigates the tangible relationships humans share with their immediate natural surroundings mitigated through the intangible lens of memory. The visuals throughout this series of works contemplate the nature of local versus global connections. In particular, the reflection of intimate interconnectedness is derived from the artist’s connection to the trees that once stood in front of her childhood home, the processing of grief when those trees contracted disease and were removed, and the larger global implications of mass deforestation, and how this destruction impacts our ability to breathe comfortably. The show utilizes digitally fabricated ceramics, projection mapped video art, site specific installation, 3D scanning and animation, and augmented reality.

Artist Bio:
Jullian Young is an artist based in Denver, Colorado where she has just completed her MFA in Emergent Digital Practices. She works with various tools including 3D modeling and digital fabrication, data visualization, interactive technologies, algorithmic processes, animation and techniques in video art. Jullian’s work engages with the critical dialogue surrounding networked systems, and our participation as a species with the environment at large. Her artwork seeks to make connections between ecosystems and organisms that often go unnoticed, and challenge the dynamics of care, control, and power in an interwoven network of creatures that ultimately necessitates balance.
IG: @jullianyoung

Future Self Storage – Laura Shill

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May 8th through June 19th, 2021. Opening reception, Saturday, May 8th – 6:00 – 10:00 PM

Artist Statement –

The disembodied plaster, clay, and fiber figures in Laura Shill’s sculptural installation, Future Self Storage, reach, tumble, and spill throughout Leon Gallery, resisting the vessels that try to contain them while grasping at something perpetually beyond reach.  As an installation artist, Shill employs repetition of form and accumulation over time to create environments that immerse visitors and engage the sensorial experience of touch.  When these objects are not being activated by the public, they rest in storage.  This exhibition presents new iterations of the current (and future) contents of her storage and unpacks the motivation behind the act of keeping. 

Each new version these objects embody, affords them another chance to fulfill their ideal potential.  To keep them is to keep the hope alive that they will emerge from storage to one day become their fully realized selves, their purpose restored. 

Storage is a liminal space often marking a transition, objects held somewhere between remembering and forgetting. We keep the things that we cannot bear to confront and cannot bear to let go of, inexorably bound in aspiration and burden. We store our responsibility to the past and our ambitions for the future, keeping our objects in an unresolved state of waiting. 

Their condition parallels our own in this pandemic year of confinement and isolation.  As we emerge from a prolonged state of storage, what versions of ourselves will we find? 

Artist Bio –

Laura Shill is an artist based in Denver, CO.  Her work combines sculpture, installation, performance, and photography. Shill creates pronounced absences and addresses ideas of disclosure and concealment, agency and emotional risk, desire and discontent, often oscillating between humor and heartbreak. Her works explore the transformative potential of people and objects through early and experimental forms of image making that pair the sinister and beautiful.  Her sculptural and installation work borrows theatrical conventions to blur boundaries between public and private space to immerse participants. These works employ repetition to create environments that bring thousands of hours of invisible labor into material form. 

Shill has exhibited work nationally and internationally at an official satellite of the 57th Venice Biennale at the European Cultural Center, The Gallery of Contemporary Art, Colorado Springs, David B. Smith Gallery, Denver, Catherine Edelman Gallery, Chicago, and Durden and Ray, Los Angeles. She earned an MFA in Interdisciplinary Media Arts Practices from the University of Colorado, Boulder in 2012. Images from her Hidden Mother archive were included in the 2013 Photographers’ Gallery London exhibition, Home Truths, Photography and Motherhood, and were published in the catalog edited by Susan Bright. For her 2016 solo exhibition, Phantom Touch, at the Museum of Contemporary Art Denver, Shill developed and relied on a community-based equitable barter system for artistic labor and production to realize an ambitiously soft environment.

To read Jane Burke’s essay of Laura Shill’s exhibition click here

A Brooklyn Artist Wants Sports Fans to Wear Their Names

New York Times – Ben Osborne, April 7, 2021.

The irony has always troubled Raafi Rivero. “People love Black athletes,” he said. “But they don’t love Black people.”

In July 2013, it resonated anew for Rivero, a lifelong sports fan, when George Zimmerman was acquitted in the killing of Black teenager Trayvon Martin, the same weekend Rivero saw the film “Fruitvale Station,” about the 2009 killing of Oscar Grant, who was also Black.

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ORPHEUS – Scott McCormick

Scott McCormick -ORPHEUS

March 13th – April 24th, 2021

Book an appointment to view the exhibition here

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Photo credit: Amanda Tipton

Scott McCormick’s “Orpheus” is an orgy of mythology, dendrology, and geometry. The first piece that jumped out at me was an Esther Williams fever dream of bodies swimming in blackness. Each subsequent piece swims in meaning and technique. Handmade headdresses philander with painted backdrops, digital & analog photography, double exposure, and human models caked in clay. McCormick brings balance to chaos and finds structure in the organic.

Ryan Warner, public radio journalist, Denver, CO

Artist Statement –

“Orpheus” is the culmination of a year and a half of work from artist Scott McCormick. Mining the subject matter, compositional geometry, and visual aesthetic of 19th century French academic painters like Bouguereau, Cabanel, and Tissot, McCormick’s epic work defines an emerging and innovative photographic style. Utilizing both digital compositing and film photo techniques, combined with his own large, custom-built sets, expansive props, and headdresses, each image is a complex orchestration of divergent elements and techniques. The intricate composite images — sometimes utilizing over 600 photographs immixed together — achieve a sense of silent frenzy. The process of combining digital and film photography has allowed the artist to prospect a “prophecy-of-self” through his time spent learning.

In early stages of the work, McCormick immersed himself in the folklore of Greek, Slavic, and Mayan cultures. This sparked an exploration of the parallel between the art, as it was revealing itself, and the grandiose mythologies emblazoned on the world’s memories and creations. Throughout his process, the connection to these cultures illuminated itself wholly in the revelation that McCormick’s life as a musician, poet, and artist was reflective of the story of Orpheus. In, perhaps a divine sense of fate, each piece had a minimal predetermined direction at inception, and the connection (or purposeful disconnect) was often only discovered or understood after the photograph was finished.

Shedding the established traditions and procedures of his commercial work practice, McCormick limited the amount of preparatory sketching, and planned only the general idea of each photo, allowing each of the photographs to take on a separate life, unfolding in a through-composed storyline. The works in this exhibition explore ascension, disconnection, divergence, and a powerful sense of feeling for the audience all while thoroughly re-telling the story of Greek legend, Orpheus.

Artist Bio –

Scott McCormick was born in Waukegan, Illinois and started playing the piano at the age of 10. At age 13, he began a 21-year music career by playing gospel churches on the southside of Chicago. Since then, he’s performed with the Chicago Symphony Orchestra, written/scored for ESPN and Disney, and led and performed in the internationally-touring band, Boulder Acoustic Society. He has taught music alongside Grammy, Tony, and Academy Award-winning artists at Boys & Girls Club of Greater Washington in tandem with Julliard School of Music. However, in 2011, he drifted from performing music and began a new career — starting his company, McCormick Photos & Design.

Over the past 10 years, McCormick has photographed, designed, and directed over 350 album covers. Among the world-renowned artists he’s worked with are: String Cheese Incident, Railroad Earth, Mandolin Orange, Gregory Alan Isakov, Big Head Todd and The Monsters, and Infamous Stringdusters. Infamous Stringdusters’ “Laws Of Gravity” took home a Grammy in 2017, and the following year, Gregory Alan Isakov’s “Evening Machines” was nominated. In 2016, McCormick won IBMA’s “Best Graphic Designer” for Infamous Stringdusters’ album “Ladies and Gentlemen,” and was nominated again for the award the following year. He also developed branding for the Opera, “Qadar”, produced by the Smithsonian’s National Museum of African Art. 

Scott can be found building sets, miniatures, expansive props, backdrops, and elaborate costumes to create a unique photographic vision from real elements. He works with startups and mid-level companies to define brand aesthetic and assists with marketing. His most recent Denver clients include Atomic Cowboy, Clinica Tepeyac, Swallow Hill Music, and Boost Counseling & Consulting. His photos and art have been seen in Rolling Stone, Vogue, The New Yorker, MTV, Vibe, and in Times Square. In 2020, he departed from music photography to pursue a career in fine art photography.

Diego Rodriguez-Warner: Horror Vacui

SW Contemporary magazine – by Joshua Ware Feb 8, 2021

Diego Rodriguez-Warner’s recent exhibition Horror Vacui offers a look beyond the immediate disarray and confusion in which we find ourselves.

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Diego Rodriguez-Warner’s Swirling, Curvilinear Compositions Leave No Surface Undecorated

Hyperallergic – by Ray Rinaldi Dec 28, 2020

Denver, CO — Like many people, Diego Rodriguez-Warner has spent the pandemic quarantining at home, and the paintings and drawings he has created for Horror Vacui at Leon Gallery present material evidence of an artist forced to make due with supplies on-hand. Leftover acrylics, crayons, watercolors and spray paint adorn scraps of plywood and drywall that serve as canvas.

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Daria Magazine – Animal, Vegetable, Mineral

Marsha Mack and Lindsay Smith Gustave – Reviewed by Derrick Velasquez

Marsha Mack and Lindsay Smith Gustave are masters of expansion and collapse. Their exhibition Animal, Vegetable, Mineral at Leon Gallery taps into the notions of abundance, progeny, and growth that temper human desire. With works that shed light on the microscopic, constituent cells of natural and unnatural objects and with imagery that alludes to our contemporary experience of dwelling, the two artists share the space seamlessly and offer viewpoints that are a refreshing reprieve in the midst of heavy times.

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