St. Leon’s visual language explores the very nature of perception, while aiming to convey movement and continuity. He is constantly searching for new techniques that will best capture his visual and conceptual ideas relating to space, time and motion. Either his compositions start out as familiar settings, soon morph into abstraction, or the subject matter stays somewhat true to life - the narrative context remains rather obscure. His latest works take ambiguous references to urban landscapes and mechanical structures, and portray them in painterly abstraction.
Throughout the past decade St Leon developed a new technique which resembles a weave, employing oil paint to create thread-like patterns. Experimenting with this technique he sought to portray movement on canvas. It also allows the under-painting to show through and be part of the narrative of the painting as a totality.
Born in Ontario, Canada, in 1957. Les St. Leon comes from generations of circus performers, artists and acrobats. St. Leon's heritage has helped shape his attention to color, form and lines. He has subsequently refined his own visual and conceptual vocabulary that emerged through his focus on the points of intersection between sculpture, painting, music and dance.
St Leon received a B.A in Fine Art from Ringling School of Art and Design, Sarasota, FL. He continued his studies in Computer Animation in San Francisco Computer Art Institute, San Francisco, CA. St Leon splits his time between his studio and working in commercial art. Some of these landmark projects include work done for Disney and Universal Studios. Apart from this work, St Leon exhibitions include "Visual Culture", CICA Museum, Seoul, South Korea, Group (2020); "Seen And Unseen", Collective Gallery, Woodstock, NY, Group (2018); “Memories”, Loosenart Magazine/MILLEPIANI Art Space, Rome, Italy, Group (2018); “Under 18 Inches”, Limner Gallery, Hudson, NY, Group (2017); "Wish You Were Here 16", A.I.R. Gallery, Brooklyn, NY, Group (2017); “Nudes”, Ybor City Warehouse Gallery, Tampa, FL , Group (2012 ); "Preservation Jar", Artness Gallery, En Shemer, Israel, Duo (2011).
Les St Leon lives and works in New York City, NY.
Artness Gallery | En Shemer, Israel
News of the Day (AKA Little while back...) -
[Important Update] ISVC 2020 has been postponed until September 19th, 2020 due to
concerns about the spread of COVID-19.
EXHIBITION: VISUAL CULTURE 2020
3255 K ST NW,
Georgetown, Washington, D.C. 20007
September 19th, 2020
Sigal Ben-David & Les St. Leon
William A. Brown
Min young Kang
Jennifer Sova & Jeanne Donegan
organized by CICA Museum
We invites artists, scholars, and researchers worldwide and local communities to participate in the International Symposium for Visual Culture (ISVC). The community of artists, researchers and academics meets in the international symposium and participates in the exhibition.
ISVC is an international platform for diverse and critical perspectives on visual culture. Through ISVC, we aims to create a global network of researchers/artists and consumers/makers of visual culture, and foster critical thoughts and in-depth understanding of visual culture on a global scale.
March 14, 2020 10 a.m. – 10:30 a.m. Registration
March 14, 2020 10:30 a.m. – 2 p.m. ISVC Sessions
-Sigal Ben-David & Les St. Leon
-William A. Brown
-Min young Kang
-Jennifer Sova & Jeanne Donegan
March 14 , 2020 3 p.m. – 6 p.m. ISVC Pop-up Show & Party
-Art show & presentations, VR and art book showcase, wine and light refreshments. Single Event Pass available. (more info)
March 14 , 2020 7 p.m. – 10 p.m. After Party
***The schedule is subject to change.
Washington Square Park / New York City
July 12, 2019
Ever so quietly, a fairly new Woodstock gallery — Collective — has been gaining audience and buzz around town through enterprising exhibitions and events, and a keen sense of purpose that fits the shifting ethos of our times like a glove.
On the morning after an experimental film screening and arts happening this past Saturday, and the eve of a pop up show featuring a new photo series from Marainna Rothen set for this coming Saturday, November 24, Collective founder and curator Jicky Schnee talked about what got her started as a gallerist, and keeps what she’s created singular, yet also hyper-relevant.
Collective’s shows over the past year have included curated groupings entitled “Into the Woods,” Red Thread: Good Grief,” The Fusion of Identity and Idolatry,” Shaking the Dreamland Tree,” and “Seen and Unseen.” For each, Schnee writes a conjoining statement that’s far from artspeak, and designed to engage and spark.
…Seen and Unseen is an examination from all angles, political, global, personal, conceptual, and theoretical, of that which is perceived and that which is unobserved or even invisible.”
Names of artists who’ve shown at Collective’s innovatively hung and truly contemporary exhibits are both new and treasured. Among them: Melissa Dadourian, Sigal Ben-David, Les St. Leon, Eddy Martelly, Anne Mailey, Terry Jones, Nin Brudermann, Janine Iversen, Robert Ohnigian, Joe Mama-Nitzberg, Alice Schavoir, Jessie Kolter, Raina Hamner, Luis Robayo, Emily Roberts-Negron, Chris Victor, Alex Hoerner, Erik Brunetti, Fionn Reilly, Nadja Petrov, Will Lytle, and Schnee herself.
By Paul Smart / HV1 / November 23, 2018
Sigal Ben-David & Les St. Leon, Gathering | My Playground of Others’ Memories, 2017 │ Buy it
Memories: From the Experience to the Construction of the Past
Gathering | My Playground of Others’ Memories
2014-2017 | Archival pigment print on FineArt cotton paper
120 mm color | 28.5x28.5in (72x72cm)
appears in exhibition in Rome.
Author Silvia Colombo
Memories │ 5th October - 1st November 2018
The exhibition season at the Space Millepiani in Rome starts again with Memories, open to public from the 5th of October to the 1st of November 2018. Memory - as already suggested by the title - is the main theme of this collective exhibition showing photographic and digital artworks made by a group of artists coming from all over the world.
Public and private, personal and collective are the two conflicting protagonists of the exhibition. Those who worked on the first aspect were able to create pictures centred on roots, families, grief (for a loss) or hope (for the future). The result is a personal diary built on images potentially causing a visual ‘madeleine effect’: hit by those visual fragments, the public is immediately involved in other people’s story, in other people’s life.
It is not important whether they represent details, portraits or still lifes: either poetic compositions, old family pictures as well as unfamiliar scenes can suddenly become our stories too.
All in all, Memories can be considered as an exhibition on our world, as captured by the artist’s eye and then graphically reinterpreted, consciously corrupted, otherwise reproduced.