Animal, Vegetable, Mineral – Lindsay Smith Gustave & Marsha Mack

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Photo Credit: Amanda Tipton Photography

Artist Statement
Animal, Vegetable, Mineral is a two person collaborative exhibition two years in the making. Artists Lindsay Smith Gustave and Marsha Mack hybridize their disparate practices to ruminate on questions of nature versus human nature, each uniquely analyzing the formation and function of our domestic surroundings. Natural elements—animal, vegetable, and mineral—are thematic foundations of this exhibition, utilized to portray the interaction with and memories of our domestic environment when they are no longer ‘of nature.’ Works by Gustave and Mack depict these elements as signifiers of extravagance, perceived value, and false comfort in a changing world. Spanning seasonal and massive global change, Animal, Vegetable, Mineral has taken on new meaning in this year of pandemic and quarantine as exercises in isolation and criticism of creature comforts.

What began as a call and response slowly evolved into a cross pollination of ideas and forms, resulting in works that complement each other from opposite ends of the aesthetic spectrum. Lindsay Smith Gustave’s practice, underscored by patience, stillness, and beauty, which began as methodical drawings, currently utilizes ethereal materials such as neutral toned chiffon fabrics, drawn taut and embroidered. Vintage glass seed beads are hand sewn into these sheer fabrics adding a dimensional element with the play of shadow. Imagery of hands, household goods, and discarded fruit peels speak to intimacy, the body, and domesticity. Drawings, beaded works, and video portray an ongoing relationship to domestic objects, a relationship heightened against the backdrop of pandemic.

Departing from Gustave’s subtler gestures, Marsha Mack’s sculptures and installations revel in material tension. Embracing mass-produced consumer products ranging from aseasonal grocery store florals to fine cut gemstones, overcompensation acts as intervention to socially conditioned shopping environs and the compulsory convenience of the retail landscape. The concept of value is called into question, comparing the simulated against the natural in the markets of domesticated animals, selectively bred flora, and choice earth minerals, highlighting the illusory nature of preciousness. Like the sparkle of a wink caught across the room, playfully disarming works flirt with the promise of collapse that is inextricably tethered to excess. Presented as pastel vignettes seated within expansive backdrops, Mack punctuates Gustave with intentionally maximalist, yet harmonious, opposition.

In an endless cycle of precious bloom and eventual decay, Gustave and Mack take turns adding nuance to an amorphous conversation regarding individual agency in the conscious and subconscious curation of the world around us, especially in a time when we have no choice but to live among our “things.” Whether it’s defining one’s identity with a handmade artisan planter, or masking vulnerability in the glare of lab grown diamonds, a curious conclusion is reached by the commingling of vastly differing artistic visions. These subject-objects are stricken from context, pared down to the essential, to draw attention to the voids between ourselves and those objects. Consumerist traditions of still life and portraiture are injected with a dose of alienation while examining connections with these objects, or
lack thereof. Through periods of feast and famine, Animal, Vegetable, Mineral trains its focus on the physicality of objecthood in the contemporary experience in its most beautiful and decadent moments.

Lindsay Smith Gustave Bio
Lindsay Smith Gustave lives and works in Denver, CO. Gustave received a BFA with Honors in printmaking in 2007, and a Master’s in Art History in 2014, both from the University of Denver. A multidisciplinary artist, she seeks to express the remnants of mundane existence through domestic and
natural artifact, thus establishing a link between a landscape’s reality and that imagined by its observer. Reproductions of specific moments or vague memories infuse them with meaning by challenging the division between memory and immediate experience. Gustave has worked at the Denver Art Museum, Clyfford Still Museum, and David B. Smith Gallery, and was a board member of Denver Art Museum’s CultureHaus. She has exhibited work at Alto Gallery, Georgia Art Space, and Union Hall. Gustave has
been featured as a Colorado Creative in Denver’s Westword.

Marsha Mack Bio
Marsha Mack (San Rafael, CA) holds an MFA in Ceramics and a Certificate of Advanced Study in Women’s and Gender Studies from Syracuse University, and a BFA in Ceramics from San Francisco State University. Mack’s texturally rich, process-intensive sculptures and installations honor playfulness and introspection as equals. Her ongoing interest in cultural consumption and the formation of identity serves as wellspring for visual and associative cues, giving rise to questions of personal vs universal symbol, mixed race identity, and the emotional potential of confection.

Mack has presented projects and exhibitions with the Museum of Contemporary Art Denver (Denver, CO), Black Cube Nomadic Museum (Englewood, CO), Lane Meyer Projects (Denver, CO), PØST (Los Angeles, CA), The Yard (Colorado Springs, CO), and the Galleries of Contemporary Art (Colorado Springs, CO). Marsha is currently the Associate Director of David B. Smith Gallery (Denver, CO), a ceramic instructor at Foothills Park and Recreation District (Littleton, CO), and is an artist in residence at RedLine Contemporary Art Center (Denver, CO).

Photo credit: Amanda Tipton Photography

(r) Lady Slipper, 2019 – Lindsay Smith Gustave
Glass beads, thread, chiffon
36 x 24 in.
(l) Leopard Vase, 2020 – Marsha Mack
Glazed ceramic with rhinestones and acrylic beads
8.5 x 5.5 x 3.25 in.
(r) In Memoriam, 2019 – Lindsay Smith Gustave
Glass beads, thread, chiffon, wire
20 x 16 in.
(l) Cherry-picked and cut, 2019 – Lindsay Smith Gustave
Glass beads, thread, chiffon
20 x 16 in.
(above) Flower Moment, 2020 – Marsha Mack
Mixed media collage with stoned mirror, hand blown glass beads, and butterfly clips
12 x 12 x 2 in.
(below) Pink Halo Vase, 2020 – Marsha Mack
Glazed ceramic with rhinestones and hand blown glass globes
5 x 5.5 x 3 in.
Centerpiece, 2020 – Lindsay Smith Gustave
Glass beads, thread, organza
38 x 72 in.
(r) Animal, Vegetable, Mineral: Firestarter, 2018 – Lindsay Smith Gustave
Ink and graphite on paper
20 x 24 in.
(l) Animal, Vegetable, Mineral: Conversations in Vacancy, 2019 – Lindsay Smith Gustave
Ink and graphite on paper
35 x 25 in.
(above) Animal, Vegetable, Mineral: Meronymy, 2018 – Lindsay Smith Gustave
Ink and graphite on paper
24 x 20 in.
(below) Cultivation I & II, 2020 – Marsha Mack
Glazed ceramic, rainbow hydroton, glass crystals, Cubic Zirconia
dimensions variable
$150 each
Animal, Vegetable, Mineral: Peel, 2019 – Lindsay Smith Gustave
Ink on paper, plaster, glass beads
13 x 10 x 3.75 in. (framed)
(above) Entertaining Petit Fours, 2020 – Marsha Mack
Mixed media collage with glass rhinestones, glass beads
12 x 13 x 2 in.
(below) Blue Lattice Vase, 2020 – Marsha Mack
Glazed ceramic with glass rhinestones
6 x 4.5 x 4 in.
Citrus Season, 2020 – Lindsay Smith Gustave
Glass beads, thread, chiffon
36 x 24 in.
(above) Meat Joy, 2020 – Marsha Mack
Mixed media collage with fine blue apatite, rock candy, freshwater pearls, and craft beads
12 x 12 x 2 in.
(below) Purple Sunset Vase, 2020 – Marsha Mack
Glazed ceramic with rhinestones and hand blown glass globes
5 x 5.5 x 3 in.
Linger, 2020 – Lindsay Smith Gustave
Glass beads, thread, chiffon, projector with video
20 x 16 in.
We Waited Too Long, 2020 – Lindsay Smith Gustave
Glass beads, thread, chiffon
16 x 20 in.
(l) Animal, Vegetable, Mineral: How To Attract Flies, 2020 – Lindsay Smith Gustave
Ink and graphite on paper
14.25 x 13 in.
(r) Animal, Vegetable, Mineral: Vestiges of Summer, 2020 – Lindsay Smith Gustave
Ink and graphite on paper
14.25 x 13 in.
Grand Champion: NW Velvetkist Don’t Touch My Tutu, 2018-20 – Marsha Mack
Ceramic, faux rose gold leaf, rhinestones
8.5 x 11 x 11 in.
$750 (sculpture only)
$950 (full installation)
Grand Champion: Kohaku, 2018-20 – Marsha Mack
Ceramic, faux gold leaf, rhinestones
10.5 x 13 x 7 in.
$750 (sculpture only)
$950 (full installation)
Grand Champion: Flynn (GCHP CH Belle Creek’s All I Care About Is Love, 2018-20 – Marsha Mack
11.5 x 12.5 x 6.5 in.
$750 (sculpture only)
$950 (full installation)

Human Currency

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Photo Credit: Amanda Tipton Photography

Jasmine Abena Colgan


Opening Reception: July 18th, 2020

On Exhibition: July 18th – August 29th, 2020

Artist Talk: August 15th, 2020

Limited 10 Visitors for 45 minute appointments on opening night.

PLEASE NOTE – We require a face mask for entry into the gallery.

Gallery Hours: Wed-Sunday 10am-6pm

Artist Statement:

Human Currency is a collection of works that confronts institutional racism in the representation of the cowrie seashell. Each piece addresses a contemporary issue that signifies deep rooted historical practices of slavery, racism, fertility, womanhood, birth, and wealth. The cowrie shell is the symbol of life; Jasmine Abena Colgan uses the shell to share her belief that through womanhood, we will develop the change in the world that is needed today. A simplistic form portrays a beautiful depiction as a metaphor, which is vocalized through the African perspective in artistic material.

“The exploration of my culture has influenced my identity to be expressed from life conflicts, as a multi-cultured woman with American nationality, appearance of Black American, but heritage of Irish and Ghanaian. There has always been the constant battle of deciphering where I fit in as a mixed individual. This body of work is shared not only from the lens, but the intellect of a African-American, Fante-Ghanaian, Irish-American, and Black & White woman.

My artwork has developed through the use of natural and found materials; they reference pigmentation, slavery, labor, tribal and bi-nationality. I mold metaphorical structures that represent the similarities between history and culture brought into contemporary conversation. I have developed my understanding of what ​it​ means to be a woman of colors. By painting a mask of makeup, I am embracing my skin condition and expressing the persona of a ​halfrican​.”

– Jasmine Abena Colgan

10% of proceeds from your purchase will be donated to a non-governmental organization in Ghana through Tough Skin. A virtual card will be sent, and your name will be added and shared with the international community.


Jasmine Abena Colgan is an Ameri-Ghanaian artist, educator, scholar, entrepreneur and social activist who was born in Colorado. Colgan will complete her masters in Fine Arts from the University of Colorado Boulder in Spring of 2020. Jazz is a master printer with 19th century, historical photographic printing processes including; platinum & palladium, silver and gold.

In 2019, Colgan was a NEST fellow and collaborated with a Ph.D. Candidate in chemistry to successfully develop the Ghanatype; a gold printing method using raw material from Obuasi (Obuasi mine initiated the Trans-Atlantic Slave Trade). Her artwork is inspired from the contemporary diaspora of mixed culture in the social world; a woman who is black and white, Irish and Ghanaian, African-American, but declares herself a part of the vitilgan race and a woman of colors.

In 2017, Jazz was awarded the “Face of Vitiligo” at a world conference, highlighting her successful social empowerment while conducting field research for her non-profit organization, Tough Skin. She has been featured in publications such as PEOPLE magazine, was associated with TEDXMileHigh for Wonder: Women in Art Experience. Colgan has developed international relationships with several diverse communities and recently established Tough Skin into an enterprise that sources Shea Butter from Ghana to handcraft protective, organic skincare products.

IG: @the.spotted.zelephant


Available Works

Cowrie asa asa cotton twill and ink jet 44” x 40” A cowrie shell was photographed and printed in platinum and palladium photographic solution onto cotton paper. Each image is portrayed in a saturated monochromatic tile which narrates artistic rituals and cultural traditions. The prints were scanned and then printed onto a cotton fabric. The documented shell is collaged into an ‘asa asa’ and this tradition migrated over the Atlantic Ocean into what is called a quilt. $300 each
Cowrie asa asa cotton twill and ink jet 44” x 40” A cowrie shell was photographed and printed in platinum and palladium photographic solution onto cotton paper. Each image is portrayed in a saturated monochromatic tile which narrates artistic rituals and cultural traditions. The prints were scanned and then printed onto a cotton fabric. The documented shell is collaged into an ‘asa asa’ and this tradition migrated over the Atlantic Ocean into what is called a quilt. $300 each
Gold Cowrie Shells GhanaType photographic solution; raw gold and 100% cotton paper 5×7 Each sheet of cotton represents the skin of a human being. The blank sheet is marked with graphite which registers where color is allotted, and then a light sensitive solution is applied onto the surface and exposed to sunlight. After the sun exposure, the print is washed in a series of salt baths which removes any residual contents. The gold is displayed in a variety of colors ranging from yellow, blue and red. The gold was used to print the cowrie shell as a representation of materiality living longer than the human body. $600 each
Ghanatype Printing with Pure Gold, copy of original book with pages from the original. The GhanaType photographic solution is an experimental liquid that developed from a collaborative project with chemist, Marissa Martinez. The book is a study of an article written by Mike Ware who recreated the Chrysotype from William Herschel. $30 open edition / $150 limited edition- 13 copies (available for pre-order)
One Human’s Worth 6,370 cowrie shells and a burlap sack During the Atlantic Slave Trade, humans were trafficked and traded as one of the most valuable commodities to this day. When colonizers discovered that transactions were cheaper than exchanging muskets and metals for enslaved people, they began shipping cowrie seashells from Europe to Africa. According to National Geographic, “Each person bought for $100… was now worth $1000, and once acclimated could be sold for $2,000, or $60,000 in today’s dollars”. (Feb. ‘20, pg. 58) Although, currency was exchanged in a shell format, and this monetary system determined how much any African person was worth for exchange. The cost of a person fluctuates depending on the size and physical presentation of each individual. Even though the shells do not originate from Africa, they have been associated with African culture because of the historical weight. $60,000
Nana Kofi Bonnzie Nana is a title that is given to a male with high respect. He was born on a Friday and his family founded the village, Winneba in Ghana. His ancestors grounded the land and moved the colonizer away from their Earth, they prayed to the Gods that the oppressor would not take their homes. The water from the ocean raised high and washed the British out of Ghana. Men, it is time to take a step down. As we have watched the level of hierarchy fluctuate throughout the centuries, there needs to be a revolution. Let us take the reigns for a while and do something with the world. $12,500
Naa N’ku Müna’s Naa is a title that is given to a female with high respect. Her skin was said to have been soft because of the creamy N’ku (shea butter) she would apply to her skin. She was a woman of desire, belief and wish – her history has influenced our culture today. Her ancestors fought a great battle to end the slave trade. The seat of her throne holds the cowrie shell, it is said that she had four children of her own and was a mother to all children in the village. Locals still visit the site she was buried. Women, it is time to take a stand. We were leaders in our past to the point where we even made the colonizers fear us, this is why they took our power. We create life, we nurture, and have voiced our spiritual beliefs. We are the future, we will change the world. $12,500
Vanity make up cloths with brown make up, assorted seashells, light up vanity with light bulb, sprinkled with broken cowrie shell dust. Makeup cloths are destroying the ocean as our skin absorbs the chemicals that are mixed together to remove more chemicals from the face. The broken shell fragments are pieces that have broken throughout the creation of Human Currency. The light leads the viewer to look harder at what our bodies become after we are all granted a death that is promised. $1,250
Blood Shed Noose, cowrie shells, black paint, calabash, cotton fabric and cotton. This weapon was functional at one point. Until the addition of each shell from each death due to police brutality and supremacy actions, the noose was not able to function from the high number of shells. The rope is floating above a cotton sheet and a libation will be poured to honor the deaths of the souls lost in the world. A libation will be poured to symbolize the blood that was shed and honor the lost souls from violent acts of racism. $2500
Fabric of Our Lives 100% authentic cotton (handpicked from Walmart), burlap. A cotton apron expressing the labor in American workplaces and the strenuous hustle to fabricate a fashionable aesthetic. The cotton is painful, but the skirt looks good. $1,300
Hard ‘ER’ acrylic and make-up The ‘N’ word derives from the Spanish word négrè which translates into ‘black’. This derogatory, six letter word dates back to the 15th century and has made a cultural shift within the centuries, varigating from the French, Portuguese and eventually the transition into the English translation, Nigger. However, the word is deeper than the color of our skin. The ‘N’ word was the descriptive name that defined a low level of hierarchy for enslaved people, who were comparable to livestock; owned as property with human characteristics, bred to fulfill a lifetime of servitude. Colonizers would travel from Europe to the motherland and steal people from their homes before they were brutalized in a ‘civilized’ manner as the ships arrived to the New World. $500

Black in Denver

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Artist Bio:

Denver-based photographer, Narkita Gold has been honing her skills in digital photography since 2009. She’s passionate about arts and culture and finds inspiration in the human experience, city life, and architecture. She’s currently profiling the city’s movers, shakers, and every day folks about the Black experience in the Mile High City in her portrait and interview series, Black in Denver. Learn more at

Artist Statement about Collaboration with Leon:

The Black experience in Denver is unique, complex, and often overlooked. I’ve always believed representation matters, and seeing ourselves on the walls of museums and galleries is impactful, especially to our little ones. I am excited to bring my series to Leon Gallery to continue to celebrate diversity in blackness, shed light on our connectedness, and raise awareness about the power of being oneself.⁣

Originally, these portraits graced our front window, during the pandemic shutdown of the gallery, with plans to create a semi-permanent display on our flags, to bring the many truths of Denver’s Black community through Narkita’s project. We encourage you to learn more and hear the stories of our community members showcased here by visiting @blackindenver on Instagram. You can also follow Narkita @narkitagold⁠⠀

“Blackness is a Spectrum. We are all connected. We are here”. – Narkita Gold

Please Stand By

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A small gift of beauty & art for the world in our windows along 17th and Park Avenue.

Ongoing through mid July

Jared David Paul Anderson: April 22nd – May 4th

*Live Performances with Darkness & Stars

Venmo: @JDPboomboom

IG: @jareddavidpaul

Camille Rose Shortridge: May 6th -May18th

Venmo: @Camille-Shortridge-1

IG: @camill_ionaire

Michael Dowling: May 20th – May 28th

Venmo: @ifoundleon (Michael is generously donating all proceeds back to Leon)

IG: @michaeldowlingstudio

*Artwork will be available for purchase on a donation basis through each artists’s Venmo. 100% of donations go towards the artists.⁠

Although we cannot invite people to gather at Leon, or even go out of your way to come by, starting April 22, if you are in the neighborhood, perhaps on the way to or from picking up essentials or taking your daily walk, we will have something beautiful to offer if you glance our way. ⁠

Jared David Paul Anderson

If You Lay in a Bath as it Drains You Will Feel the Weight of the World

It is easy feeling the weight of the world these days. Nothing is black or white, it is all gray. That is the hardest part for me, the unknowing of it all. I do know these microscopic beings are much bigger than all of us and so I have surrendered. In quarantine I have found solace in full throttle art making. No answers here, just pause from a global pandemic painted in black and white, no gray.

Half of this exhibition is donation based art. I do not expect many people to be buying art at a time when jobs are lost and landlords still want to be paid rent. A simple act of appreciation to anybody practicing humanity.

JDP will be collaborating with Stephen Daniel Karpik ( for a live performance as Darkness & Stars during random moments of his installation, which you can tune in and view live on IG.⁠ In the spirit of surprise beauty, we may drop a hint when this is happening via Instagram, or you may just have to happen upon on your walk around the block.

Camille Rose Shortridge

It’s a Beautiful Day In The Neighborhood

I see many similarities between Mr. Rogers’ neighborhood and my own. I live in Uptown, just two blocks away from Leon. From my windows overlooking the cross streets of 16th and Park Ave., everyday I see my neighbors outside enjoying walks or riding bikes with family and friends. It’s a beautiful day in the neighborhood. And yet, there is juxtaposition in that there is an underlying current trauma at the core that needs to be addressed. We’re not sure how to address it, we’re all trying to understand it.

For my installation as part of “Please Stand By”, I will be setting up my entire art studio inside the front window at Leon, where you can find me working daily. I want to give my neighbors a behind the scenes look inside the artists’ studio. A personal space that few ever get to enter into, and a space where as an artist I create work that is influenced by the realities of everyday. In sharing my space and practice with my neighborhood, I hope to offer a new experience that can perhaps bring us together in healing as we all learn how to adapt to these changing yet opportunistic times.

Michael Dowling

Isolation Collaboration

A series of eight collaborations set in our time of isolation. Each one will be a unique experiment in communicating and creating together with the physical barreir of a window between the artist and the viewer. Inputs will be exchanged from the viewers/collaborators, which will serve as the jumping off point for Michael’s new work and as moments of diversions for the current direction he may be painting in.

PLEASE NOTE – WE DO NOT encourage people to go out of their way, travel outside of their own neighborhoods, or violate the Stay-At-Home orders put in place by Governor Polis or Mayor Hancock. However, if you live in the neighborhood and are out getting exercise or en route to the grocery store, feel free to walk by and have a look. You can stand on the sidewalk outside the gallery and watch. But please remember to adhere to physical distancing guidelines.⁠

Was, Is, Will Be – Leon’s 3rd Annual Performance Art Series

Was, Is, Will Be is Leon’s 3rd Annual Performance Art Series, broadcasting remotely throughout the month of May, 2020, and during the stay-at-home/safer-at-home orders of Governor Polis and Mayor Hancock.

Artists were provided an honorarium to create a work of pre-recorded video or prepare a performance for live streaming.

As the various works are premiered on Facebook, YouTube, and Instagram, they will be added to this gallery.

Featured Artists and Broadcast Dates:

Phil Cordelli and Sueyeun Jeliette Lee – TEDDYSNORKEL – May 7th

Brenton Weyi – A Verse for Humanity – Creative Words of Connection and Introspection – May 8th

Joshua Ware – DETH LIGHGHT IX: DNCE DNCE!!! – May 14th

Michael John McKee – Exercising – May 15th

Sarah Touslee and Tyson Bennet – Wait Here – May 21st

Tobias Fike and Matthew Harris – Confined – May 28th

Fike & Harris – 78,267 ft Apart

Tobias Fike and Matthew Harris bring us the fifth performance in Leon’s 3rd Annual Performance Art Series, reuniting again, after their wildly successful “Pop” performance from our first series in 2018.

Their video, “78,267 ft Apart” will be broadcast via Facebook, Youtube, and Instagram.

To make donations or send tips to the artists you can use Venmo: @Tobias-Fike

Statement: Fike and Harris connect through Zoom, and it isn’t always pretty.


Collaborating since 2010, Tobias Fike and Matthew Harris have dragged each other across the desert, wrestled each other’s shadows, and tried to catch glass objects while blindfolded. Their work addresses the everyday difficulties of human relationships, often using humor and irony to highlight the real struggles involved in negotiating difficult situations. They have exhibited widely, including at the Fonlad Digital Arts Festival (Coimbra, Portugal), the Boulder Museum of Contemporary Art (Boulder, CO), and the David B. Smith Gallery (Denver,CO). In 2013, they performed live for the opening of Denver’s Biennial of the Americas First Draft exhibition where they tested the collision of beach balls at high speeds.

Their performance video, “Food Fight” is in the Kadist Art Foundations, Video Americas collection and was recently shown in Shanghai, China as part of that collection.

TEDDYSNORKEL – Phil Cordelli and Sueyeun Juliette Lee

Artist Statement – We will manifest and consume messages from other forms of life here on earth to prepare our bodies as channels to the future.

Artist Bios – Phil Cordelli is a poet and farmer just outside the city of Denver.

Sueyeun Juliette Lee grew up three miles from the CIA. Find her at

To make donations to the artists you can send $ via Venmo: @sjuliettelee

A Verse for Humanity: Creative Words of Connection and Introspection – Brenton Weyi

In this video, Brenton shares some poetry, stories, a song from his musical, and ends with improvised verse informed by the audience. Central to all his performances is a sense of building community and human bridges, which is especially vital during this most disjointed time.

To make donations to the artist you can send $ via Venmo: @Brenton-Weyi


Joshua Ware is an artist and writer living in Denver, Colorado.

To make donations to the artists you can send $ via Paypal:

DETH LIGHGHT IX: The Illumination of Nothingness

1. During the autumn of 1965, Aram Saroyan composed lighght. An audience, he said, should “see rather than read” the poem—for it is “sculptural” as much as textual.

2. When we say light, we pass through gh silently.

2. When we say lighght, we, too, pass through ghgh silently; but we are aware of silence because silence becomes seen.

3. Silence is the sound of nothing; but ghgh is variation producing pause. DETH LIGHGHT, too, is a kind of pause.

4. If “habit is the great deadener,” then DETH LIGHGHT is the great leveler.

5. Americans do American things: families, houses, careers, and cars; vacations and 401Ks.

6. When we die, our names will be forgotten. No 401K will save us.

7. The dead do not worry about American things.

8. We become nothing in our unnamedness, regardless of our station.

9. Sappho is nothing now but fragments; her contemporaries lost forever.

10. If we are to be forgotten, then dance inside the DETH LIGHGHT. But gracefully so.

11. DETH LIGHGHT IX: DNCE DNCE!!! is a dance of insignificance before we disappear.

12. DETH LIGHGHT IX: DNCE DNCE!!! sways with the apocalypse.

13. DETH LIGHGHT IX: DNCE DNCE!!! says “I am this body who dances horribly in heavy boots.”

14. DETH LIGHGHT IX: DNCE DNCE!!! explores public spaces rendered empty by disease.

15. DETH LIGHGHT IX: DNCE DNCE!!! explores intimacy in a time of social distancing and PPE.

16. DETH LIGHGHT IX: DNCE DNCE!!! partakes in our own decay.

17. DETH LIGHGHT IX: DNCE DNCE!!! is a dilettante’s film—and unashamedly so.

18. DETH LIGHGHT IX: DNCE DNCE!!! is a love song for everyone.

19. DETH LIGHGHT IX: DNCE DNCE!!! is a prayer to no one.

20. DETH LIGHGHT is the illumination of nothingness.

Exercising – by Michael John McKee

Here is the fourth broadcast in Leon’s 3rd Annual Performance Art Series, Was, Is, Will Be.

In “Exercising,” Michael explores the intersection of endurance, minimalism, and indeterminacy through the human body, percussion, and technology, paralleling a daily life during stay-at-home orders.

Bio – Michael John McKee is a musician and sound artist. Under the moniker Helicopter Copter, Michael produces sound-forward mixed media, including projects like experimental music video collaborations, sound design and incidental music for theatre, tongue-in-cheek compositions, wind chime sound installations, and alt music performances.

To make donations or send tips to the artist use Venmo – @micjohmck

Kevin Frances – Man in the Moon

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Kevin Frances

Man In The Moon

February 15th – March 28th, 2020

Join us as we celebrate the Colorado debut of Kevin Frances (NYC) for Mo’ Print: Month of Printmaking.

Photo credit: Amanda Tipton Photography



Objects are spread across a table: books, bills, an almost empty cup of coffee, a note to self–“the sun moves across the sky.”

Initials are scrawled on an interior wall, in round blue letters, high up near the ceiling–RTHRS.

Ordinary objects and events, things we have held in our hands a thousand times, paths we walk every day, have incredible potential–the potential to knock our perception off kilter, to make us see things anew, the potential to tell us a story, an epic in the scratches on a coffee table.

My work is about the made world, probing the world of objects, their cultural significance, what they can tell us about a person, that transformational moment when they transcend bland reality and become new and strange, and that shimmering edge in between those two states of mind.

In Monolith, I mined my life for spaces that triggered a cascade of memories; corners where I ate breakfast every day, awkward doorways and corridors, worn parquet floors. I made small scale sculptures out of these spaces, sometimes realistically, sometimes in incongruous materials, like a corner of a room made out of speckled clay. I combined these objects with projections of shadows I had gathered; light coming in through blinds, hanging plants, a silhouette self-portrait. I borrowed and stole objects and images, like a bird looking for shiny things with which to build a nest. I took pictures of these arrangements.

My work has often involved layers of translation, usually from medium to medium, sculpture to photo to woodblock print. My thought process for this project took a similar path; starting with spaces that had strong personal resonances, I set those aside and let formal concerns lead the way, which lead back into meaning, but in a more open, stranger way.


Kevin Frances is an artist who lives and works in New York City. He received his MFA from the Rhode Island School of Design in 2013, and his BA from the University of California, Davis in 2010. In 2012 he was a participant at the Skowhegan School of Painting and Sculpture. His work has been shown at the International Print Center New York, the Knockdown Center in New York, Cheymore Gallery in New York, Vox Populi in Philadelphia, the Kala Gallery in Berkeley, and Galleri CC in Malmö, Sweden. He received a Massachusetts Cultural Council grant in 2016, and the St. Botolph Club Emerging Artist Award in 2017.




Available Works

You know, I didn’t like it, so I broke it Woodblock Print 20” x 30” Edition of 10 $ 1100 unframed $ 1350 framed
Monolith Woodblock Print 20” x 30” Edition of 10 $ 1100 unframed $ 1350 framed
In the Headlights Woodblock Print 20” x 30” Edition of 10 $ 1100 unframed $ 1350 framed
Monolith 11 (top), Monolith 2 (bottom) Chromogenic Color Print 6” x 9” Edition of 6 $ 200 unframed $ 250 framed
Monolith 5 (Top), Monolith 1 (Bottom) Chromogenic Color Print 6” x 9” Edition of 6 $ 200 unframed $ 250 framed
Monolith 10 (Top), Monolith 9 (Bottom) Chromogenic Color Print 6” x 9” Edition of 6 $ 200 unframed $ 250 framed
Let the Shadows have their Space Woodblock Print 20“ x 30” Edition of 10 $ 1100 unframed $ 1350 framed
My Room / Her Room Woodblock Print 20“ x 30” Edition of 10 $ 1100 unframed $ 1350 framed

Bunny M – Beasts of Burden

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bunny M – beasts of burden



Leon is proud to announce the largest solo show to date in Denver of the works of bunny M. Predominantly existing only in the streets, artist bunny M, will be taking a rare moment in her career to exhibit beasts of burden, a collection of new paintings at Leon Gallery. beasts of burden is the culmination of a three year period of study from the prolific fine artist.

OPENING RECEPTION: Saturday, October 26th 7pm – 11pm

EXHIBITION: October 26th , 2019 – December 21st, 2019

*All exhibitions are FREE and open to the public.

bunny M is a fine artist, painter, and vandal born in the streets of New York City in 2008. An enduring figure in the underground urban art world, M’s intricately hand-painted works have been discoverable for a decade in NYC, Denver, San Francisco, New Orleans, Paris, and London to name a few. The scope of creation includes murals, wheatpastes, along with studio work on paper, wood, and reclaimed materials. Elemental, archetypal, and numinous, these paintings emerge from the subconscious realm of duality. M considers them to be animistic entities, desirous of interaction with you. They are drawn to our plane to surprise, enchant, and ultimately, uplift.

Photography by: Amanda Tipton Photography

Available Works

aposematic shapeshifter, 2019 acrylic and bonded glitter on wood panel, in permanent vintage frame, 34.5” x 30.5” SOLD
(l to r): the living (venus), the dead (moon), the rare (sun), 2019 acrylic and bonded glitter on wood panel, 36” x 36” @ $2,500 (full triptych $6,000) available
the living (venus), 2019 acrylic and bonded glitter on wood panel, 36” x 36” @ $2,500 (full triptych $6,000) available
the dead (moon), 2019 acrylic and bonded glitter on wood panel, 36” x 36” @ $2,500 (full triptych $6,000) available
the rare (sun), 2019 acrylic and bonded glitter on wood panel, 36” x 36” @ $2,500 (full triptych $6,000) available
bunny M tags, 2019 bunny M tags with colored chains (red, orange, gold, pink, lavender, light blue, turquoise) @ $10 available
(l to r) hypnotic animal totem, dead dead, 2019 hypnotic animal totem, 2019 acrylic and bonded glitter on wood panel, in permanent vintage frame, 46” x 29.5” SOLD dead dead, 2019 acrylic and bonded glitter on wood panel, in permanent vintage frame, 19.5” x 16.5 SOLD
bunny #1, 2019 acrylic and bonded glitter on wood panel, in permanent vintage frame, 36” x 30” SOLD
blue (forget me not), 2019 blue (forget me not), 2019 acrylic and bonded glitter on wood panel, in permanent vintage frame, 18” x 22” $ 1,400 available
nyc animal spirit (april 2019), 2019 acrylic and bonded glitter on paper, over vintage chicago brick, 60” x 48” $ 10,000 available
paris animal spirit (may 2019), 2019 acrylic and bonded glitter on paper, over vintage chicago brick, 60” x 48” $ 10,000 available
girl/boy, 2019 girl/boy, 2019 acrylic and bonded glitter on wood panel, 18” x 18” SOLD
boy/girl, 2019 boy/girl, 2019 acrylic and bonded glitter on wood panel, 18” x 18” SOLD
the living rare, 2019 acrylic and bonded glitter on canvas tarpaulin, 110” x 90” $ 10,000 available
dark rainbow spirits #1 – 13, 2019 dark rainbow spirits #1 – 13, 2019 acrylic and bonded glitter on strathmore 500 series heavyweight board, 9” x 9” $300 – several SOLD, inquire for availability

Kaitlyn Tucek – Overlook

OVERLOOK Kaitlyn Tucek


August 31st – October 12th, 2019

Artist Statement:

On page 531 of the 2001 edition of Janson’s Western Art History textbook you can find the following quote: “So far, we have not discussed a named woman artist, although this does not mean that there were none.”

While doing research for an altarpiece I completed last summer, I rekindled my love and interest in Late Renaissance and Baroque art. This meant opening up my old college textbooks and personal library of art historical content. With over fifteen art history courses between my undergrad at Pratt Institute and graduate program at CUNY Queens College, I can’t recall a single professor mentioning Artemisia Gentileschi. Why? My senior thesis was a series of large illustrative portraits of heroic women in my community. Why did no one think to recommend a female perspective to compliment my own obviously female perspective?

In the last few years, I have started to revisit my own experience and the willful ignorance that both my professors and I had about female contributions throughout art history. The mainstream historical narrative had allowed only certain men to define what art was, and its undervaluation of the female experience still greatly permeates our art education and contemporary markets. I became particularly interested in Artemisia’s disappearance. Researching someone so forgotten by history creates a daunting challenge to put the pieces back together. The mystery leaves the door open for multiple and sometimes contradictory narratives and has enormous potential for troublesome exploitation. Groups lay claim, offering speculative truths. Fragments and perceptions lead to questions that may never be answered. Through more research I discovered countless other notable female artists who I had never heard of. I found myself following three distinct paths of artistic curiosity, one leading to my own perception of Gentileschi’s work and intention, one leading me to discover the many other women I had never been educated about, and one leading to the self as an artist.

In the end, I had unknowingly unveiled my own fears of being forgotten like so many other female artists before me. This show became a personal conflict, with an existential ebb and flow. There were many female artists that could have been, or rather should have been mentioned before page 531–it’s just that no one was advocating for them. I hope my exhibition provides another way to record their names, and document their contributions to art history, and maybe through this undertaking, mine own name as well.

Artist Bio:
Kaitlyn Tucek lives and works in Denver, CO. From Long Island, NY, Tucek graduated from Pratt Institute in 2006 and was awarded her Master’s from CUNY Queens College in 2013. Mother to two under 5, Tucek is a multi-disciplinary artist who is often labeled a feminist. Tucek has been featured in Hyperallergic, Westword, Modern in Denver, and was recently named one of Denver’s top 5 artists to watch and collect by 5280 Magazine. In addition to her art, Tucek occasionally moonlights in art and museum education, illustration and curatorial work.

Self Portrait with Theorbo

is a video performance of a new music composition for large Renaissance-era lute. Infused into the piece are quotations from Barbara Strozzi, one of Artemesia Genrileschi’s composer friends. Strozzi, like Artemesia and so man women, queer composers, and composers of color, had been largely left out of classical music history. This work offers a moment to show that hew work (and others too often-forgotten) still inspires.

Composer Bio:

Nathan Hall is a former Fulbright Fellow to Iceland, and holds his Doctorate in Musical Arts (DMA) from the CU Boulder. He holds a BA from Vassar College and MM from Carnegie Mellon. His teachers include Nancy Galbraith, Richard Wilson, Reza Vali, Carter Pann, and John Drumheller. His works have been performed and exhibited around the world by the String Orchestra of Brooklyn, Tenth Intervention, GALA Choruses, Playground Ensemble, Decho Ensemble, The Gay/Lesbian Chorus of San Francisco, New Wave Singers, International Orange Chorale San Francisco, Ars Nova Singers, Duo Harpverk, a convention of roller coaster enthusiasts, artist Ragnar Kjartansson, and porn star Dirk Caber. Nathan has been awarded numerous grants including a New Music USA grant and the Denver Music Advancement Fund. His residencies include Denver Art Museum’s first Creative in Residence, Acadia National Park, Boulder Public Library Maker in Residence, and the Ogilvy Travel Fellowship to Ireland. He is President-Elect of the Board of Playground Ensemble and lives in Denver.

Theorbo: Nicolò Spera
Video: John Roberts, Dustmite Films

A special thank you to those who helped the artists realize their designs

Matt Tripodi Sophie Lynn Morris Bonnie Gregory Christine Kane Kate Wilkonson Nicolò Spero

Photography by Amanda Tipton

(L to R):
Melancolia, 2019
Acrylic, pastel, graphite on stain, linen, chiffon, and velvet, 50” x 60”
$ 4,000 Available
Tabula Rasa, 2019
Acrylic, graphite on satin, linen, and silk chiffon, 50” x 60”
$ 4,000 Available
Dagger in table, 2019
$ 500 Available
Melancolia, 2019
Acrylic, pastel, graphite on stain, linen, chiffon, and velvet, 50” x 60”
$ 4,000 Available
Tabula Rasa, 2019 Acrylic, graphite on satin, linen, and silk chiffon, 50” x 60” $ 4,000 Available Dagger in table, 2019 $ 500 Available
Tabula Rasa, 2019 – Detail Acrylic, graphite on satin, linen, and silk chiffon, 50” x 60” $ 4,000 Available
Dagger in table, 2019 $ 500 Available
(L to R): One for Sorrow (Embroidery piece), 2019 Graphite and thread on satin SOLD Magpie 3, 2019 Acrylic, graphite on stain, 10” x 20” (canvas), 12” x 22” (frame) SOLD
Specimens: Portait Drawings, 2019 Graphite on paper, 8 1/4” x 11” @ $ 60 – Several SOLD, inquire for availability
Magpie 4 with Peach, 2019 Acrylic, pastel, thread on paper with chiffon in found case, 38.5” x 17.5” $ 625 Available
(L to R) Cleopatra, 2019 Acrylic, pastel on satin and chiffon, 24” x 44” $ 2,000 Available Magpie 2, 2019 Acrylic, graphite on satin, 11” x 14” SOLD Danae, 2019 Acrylic, Graphite and thread on satin and chiffon, 16 “ x 26” $ 700 Available
Danae, 2019 Acrylic, Graphite and thread on satin and chiffon, 16 “ x 26” $ 700 Available
Magpie 2, 2019 Acrylic, graphite on satin, 11” x 14” SOLD
Cleopatra, 2019 Acrylic, pastel on satin and chiffon, 24” x 44” $ 2,000 Available
(L to R) Corsica, 2019 Acrylic, pastel, graphite on satin and raw silk, 10” x 14” SOLD Magpie 1, 2019 Acrylic, graphite on satin, 10” x 12” SOLD
(L to R) Susanna, 2019 Acrylic, pastel on satin and chiffon, 20” x 30” SOLD Magdalene, 2019 Acrylic, pastel on stain and chiffon, 24” x 30” $ 1,200 Available Peaches, 2019 Acrylic, graphite on satin, 10” x 20” SOLD
Peaches, 2019 Acrylic, graphite on satin, 10” x 20” SOLD
Clio, 2019 Acrylic, graphite, pastel, thread on satin, linen, and chiffon, 14” x 16” SOLD
Magdalene, 2019 Acrylic, pastel on stain and chiffon, 24” x 30” $ 1,200 Available
Susanna, 2019 Acrylic, pastel on satin and chiffon, 20” x 30” SOLD
St. Catherine, 2019 Acrylic, graphite on satin, 14” x 18” (canvas), 15 1/2” x 19 3/4” (frame) $ 800 Available Dress Satin on hook – NFS Aurora, 2019 Acrylic, pastel, thread on stain and chiffon, 30” x 40” $ 2,400 Available
Bathsheba, 2019 Acrylic on satin and chiffon, 24” x 28” $ 1,200 Available
Esther, 2019 Acrylic, pastel, on satin, velvet, and chiffon, 24” x 30” SOLD

Ramiro Smith Estrada – Expertly Paired

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June 29th through August 10th, 2019


Artist Statement

My current work revolves around contemporary modalities and the ways we see and portray ourselves. Through a narcissistic standpoint, we are constantly weaving a tale of who we are; fashionable, current and up to date. As on social media, my paintings attempt to highlight and beautify the “mundane” and at the same time exacerbate the clash between fleeing narcissism and the weight of culture. The “ornament” then functions as a means of symbolic and formal decoration.

My focus is on the subject of the contemporary construction of “self-image”. Focusing on a culture that does not delve into content but rather a place where the image reigns supreme. Imagery and the reflection of the other, and how we are seen seem to be the raison d’etre. Narcissism, the consumption of “cool” culture and the glorification of the mediocre.

Artist Bio

Ramiro Smith Estrada, 1984, lives and works in Buenos Aires. He pursued Engraving as a career at Universidad del Museo Social Argentino in 2007. He was selected to be displayed at the National Exhibition of Fine Arts in the field of Engraving in 2010 and 2013, and to the Williams Award in 2012. In 2014 he was selected to attend the Contemporary Artistic Practices clinic (PAC, for its initials in Spanish) conducted by Gachi Prieto Gallery and delivered by renowned artists and professors Eduardo Stupia, Rodrigo Alonso, Rafael Cippoletti and Andres Wassiman. The same year he took part of a four-Argentinian-artist showing exhibition at VICE Gallery in the context of Art Basel Miami Beach. In 2015 he participated in an art residency program at LaVallee in Brussels, Belgium.

In 2017 he presented ̈CHETO ̈ his fifth solo exhibition at Mundo Nuevo Art Gallery (Buenos Aires), curated by Santiago Bengolea (Fundación PROA’s Contemporary Space coordinator). In 2018 he was invited to join two art residency programs in Denver, becoming a Redline artist in residence in June and a Taxi Studio artist in residence in October.

Exhibition Statement by Joshua Ware

The portraits included in Ramiro Smith Estrada’s exhibit Expertly Paired dazzle with their vibrant palette and intricately patterned designs. They are, indeed, visually sumptuous encounters that offer viewers aesthetic pleasure through their color and arrangement. But simply to look at his paintings for the purpose of optic gratification belies the cultural critique they wield.

In his iconic meditation on Parmigianino’s “Self-Portrait in a Convex Mirror,” John Ashbery toyed with the cliché “the eyes are the window to the soul” when he wrote: “The soul establishes itself, / But how far can it swim out through the eyes”? He answered his own question, shortly thereafter, with a hard truth: “The secret is too plain. The pity of it smarts, / Makes hot tears spurt: that the soul is not a soul, / Has no secret, is small, and fits / Its hollow perfectly.” Indeed, Parmigianino’s eyes are not the windows to his soul because the soul—“small” and “hollow”—no longer exists.

When Ashbery proclaimed the dissolution of the soul, he embodied his postmodern moment with an all-too poignant understanding of his era. Later in his poem, he expanded upon this idea when he declared: “But your eyes proclaim / That everything is surface. The surface is what’s there / And nothing can exist except what’s there.” By championing the surface at the expense of depth, Ashbery became a poster child for postmodernity. He challenged painters to rethink both their purpose and practice, while asking audiences to reevaluate their presuppositions about viewership and the self.

Similarly, Estrada’s portraits focus on, as he claims, the “contemporary construction of ‘self-image’.” Just as Ashbery leveled a critique against antiquated notions of the self that fit his depthless moment perfectly, so too does Estrada reconsider the self in an era dominated by social media and, to his mind, “narcissism, the consumption of ‘cool’ culture, and the glorification of the mediocre.”

To do so, Estrada strips his figures of most physical features, replacing them with floral-patterns that circumspectly traffic in tired tropes of beauty. If postmodernity collapsed a subject’s depth into surface, then the era of social media has provided us with the ability to erase our biologically-given surfaces in favor of an ornamental veneer. As such, Estrada’s portraits extend the Ashberian logic of the self to its conceptual limit. Call it, if you will, unselfing through hyper-surfacing.

Indeed, a quick survey of Instagram facial filters reveals no less than 70 options for distorting, enhancing, or obliterate one’s own image. Social media allows our online avatars to become our public personas. And the various filters, bitmojis, and photo-editing applications allow us to transform the renderings our digital avatars into whatever image we choose. These renderings, consequently, change with both our vicissitudes and an application’s available features. Moreover, they tend to disappear within twenty-four hours of posting or immediately after viewing. To wit, our self-images have become aesthetic contrivances that linger for a moment, then dissipate into the digital ether.

In addition to exploring mutable and ephemeral representations of the self, Estrada litters the foregrounds of his paintings with material objects; furthermore, he sets his figures against backgrounds of partially obfuscated text. While one could assume that the objects and text within the portraits relate in some way to the person therein, the original connections between them are mostly impenetrable to the viewer. Rather, objects and words become bric-a-brac divested of their initial signification. They transform into decorative elements that create a threadbare connection to the material world. Just as the self transforms into mere ornament, so too does our external reality.

If the portraits in Expertly Paired titillate, they do so as a rhetorical provocation that engages us in broader and more critical conversations about the tenor of our times. While Estrada’s paintings may not offer a corrective to the totalizing aestheticization of era, they do call attention to the ubiquity of the ornamental in ourselves and our contemporary moment. 

– Joshua Ware

Installation Shots – Photo Credit: Amanda Tipton Photography

Empirical Imperatives

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Empirical Imperatives
May 11th – June 8th, 2019

Leon is demonstrating its commitment to promoting performance art through an intensive five weeks series of events featuring some of the best and brightest performance artists of the Denver art community. 

Ben Youngstone + Henry Maximillian McCall 
Charles Livingston  
Jared David Paul Anderson 
Esther Hernandez 
The Flinching Eye Collective

Leon is proud to announce their upcoming performance art series, Empirical Imperatives, an exploration of the immediacy and visceral nature of performance art, celebrating artists who are actively engaging our community, challenging our notions of art viewing, and broadening our artistic experiences. The series is taking place from May 11th – June 8th, 2019. Each successive Saturday night at 7pm, the gallery will become the stage for each of these unique and innovative artists from within our Denver scene, who are exploring a variety of performance art styles, and expressing authentic, individual statements. The artists presenting include 

Ben Youngstone + Henry Maximillian McCall

Charles Livingston

Jared David Paul Anderson

Esther Hernandez

and collaborative artists The Flinching Eye Collective  

Saturday, May 11th, 7-10pm Ben Youngstone + Maximillian McCall
Saturday, May 18th, 7-10pm Charles Livingston
Saturday, May 25th, 7-10pm Jared David Paul Anderson
Saturday, June 1st, 7-10pm Esther Hernandez
Saturday, June 8th, 7-10pm The Flinching Eye Collective
All performances will take place approximately at 8pm each evening. Length of program varies with each artist. Refreshments and conversations occurring before and after the programming. We encourage our visitors to this series to consider donating $5 or more at the door, so that we may give 100% of the proceeds to our performing artists. 

Empirical Imperatives Exhibition Schedule: 
Saturday, May 11th– Ben Youngstone + Henry Maximillian McCall– Untitled.
Untitled is an exploration of the themes of repetition and stagnation through the lens of movement. We all have interior worlds that are easy to get caught within and habits that can erode the spontaneity of life. The impetus to go outside a comfort zone can come from within or from outside forces and we are looking to investigate what factors can bring this about. Using physical and verbal patterns as well as projected film elements, the artists will take the audience outside of the realm of their everyday while exploring the dancer’s own personal habits. Ben + Henry look to create a unique experience for the audience while challenging themselves to both embrace and reject the improvisational habits that we have built over a lifetime of rehearsed dance.
Saturday, May 18th – Charles Livingston –Catalyst 1,542,384 
Catalyst 1,542,384 is a performance/installation whereby Charles hand cut over 1,500,000 slices of bicycle inner tubes. Viewers are encouraged at any time to sit and take pieces of the tube, count how many they remove, record the number, sign, and date the ledger. Charles counts every slice and keeps a separate ledger. The number of slices changes with each performance as viewers take pieces and he adds. Catalyst 1,542,384 can be viewed as a catalyst for change and evolution through a process. A transformation from one state to a different state of being. From a micro to a macro scale through accretion and accumulation similar to how nature constructs. It is a metaphor for the interconnection between all things. A shared experience that allows for an awakening to our place and potential in the world. Living with manufactured plastics and synthetics is part of our everyday experience. Plastics and synthetics have been co-opted into the landscape, an undesired evolution of our nature. Using discard rubber addresses this chemically induced nature and environmental problem. This synthetic landscape is also represent in the synthesized sounds used to enhance a meditative state during the performance. 

Saturday, May 25th – Jared David Paul Anderson– The Primordial Playground
The Primordial Playground has been experienced in a cave, in the alley and in the next episode, in a gallery.  This is a concept where the observers of art become the creators of art through means of spontaneous actions while invoking a deep dig into the marrow of primal psyche. We will be better off after this primitive art performance as it will ready us all to prepare for when the gadgetry goes dark.  If the world had lost its’ vessels of technology that shackle today, we still, as a race of beings, must create art, with anti-technology.   

Saturday, June 1st – Esther Hernandez– née trance
The nature of the audience will be renegotiated through a series of movements, sounds and instructions in a three part performance that revisits and reworks an old fluxus score from the fluxus performance workbook. The performance, titled née trance is about being entranced by the past, and inspired by the work of the family of artists who came before!
Saturday, June 8th –The Flinching Eye Collective– Sticky Metal
For Sticky Metal, a new performance at Leon Gallery, members of the Flinching Eye Collective will present an entanglement of Post utilitarian humans fixing (or causing) problems no one asked to be fixed.

Every performance will be documented through video and still photography, thanks to Guilio Vallada D’Amore