It's always difficult wrestling with old language to express new ideas, but I thought he articulates well and what he said makes sense to me. Saw the piece just before lockdown at the Tate and it had even more impact than I thought it would. I think it's still revealing it's meaning both to the viewers and the artist. My enjoyment of his body of work has encouraged me through a BA and MA 35 years after I first did a foundation course....so there !
The work is what must be judged and considered. The relation of art to thought I think is exceptional, and personally relevant. He's in the middle of it all, an active creator. I met him at the PS1 exhibition and he was exceedingly humble. The work was so fun, so genuine. Leckey is a brilliant artist in my opinion.
It must annoying to the pretensions some keep - without every having made something of their own and knowing not the difficulties of building something in the mind, conceiving and introducing its form into space so others might experience or understand it in some way - to watch Mark clearly introduce work. for me having him quietly share his story o f its significance is as much a part of the experience as the sculptural form behind him, perhaps testament to the relationship it's stories shares with others. but what is a Bridge? and its significance -where do bridges ever show up in our lives or art, hmm?
mindless copying is not art. An artist uses the inter-space to populate it with shadows of the Real. This bloke is blind and senseless. Pure nihilism and pseudo-creativity. I tell you what he did not forget to do however - take money for it.
Quick question Piotr. You know when you read something about trolling and how the internet is making us all shittier human beings, do you think they're talking about someone else?
Leckey is my age and from the same part of the UK. I share his accent. His work is original and all his own. It is angst and urban reality I've seen for myself. It is also an exorcism which you should factor in to appreciate his work. But he should move on now, that's for sure. The underpass should be buried .. or pulled down. I might do it myself.
Its also the ignorance in assuming that this is a copy . when someone writes about a bridge in a story are they really copying it, even though they describe it in precise proportion? they are re-introducing it to us in story with care for our consideration, to perhaps use it to prod our imagination and engage our memories of a time and place, or create new one. surely that is more than mindless copying. It is neither a blind nor senseless work. Its visceral physicality is so wonderful and consistent with the real it immediately holds a credible link to somewhere we know or may have been. for me the way it is placed is so solid and demanding of our engagement that we are provoked to respond to it very presence, and feel things. (even though it is a representation) In this regard It performs 'its job' perfectly imo. There is so much unhappiness (& nihilism) - in what you have said that begs questions about what we reject in certain works of art (& why) , or in art resembling spaces or objects we may identity or think we know - that I am inclined to further support such projects in the future, if not for the stories and memories they conjure, then for the responses and the sensibilities they disturb. thx (took me 5 years to edit this)
It's always difficult wrestling with old language to express new ideas, but I thought he articulates well and what he said makes sense to me. Saw the piece just before lockdown at the Tate and it had even more impact than I thought it would. I think it's still revealing it's meaning both to the viewers and the artist. My enjoyment of his body of work has encouraged me through a BA and MA 35 years after I first did a foundation course....so there !
The work is what must be judged and considered. The relation of art to thought I think is exceptional, and personally relevant. He's in the middle of it all, an active creator. I met him at the PS1 exhibition and he was exceedingly humble. The work was so fun, so genuine. Leckey is a brilliant artist in my opinion.
We had him at Uni of Westminster yesterday, absolutely brilliant and I can he is very humble!
Very interesting interview, thanks!
It must annoying to the pretensions some keep - without every having made something of their own and knowing not the difficulties of building something in the mind, conceiving and introducing its form into space so others might experience or understand it in some way - to watch Mark clearly introduce work. for me
having him quietly share his story o f its significance is as much a part of the experience as the sculptural form behind him, perhaps testament to the relationship it's stories shares with others.
but what is a Bridge? and its significance -where do bridges ever show up in our lives or art, hmm?
I don’t think artists should be allowed to talk about their own work
Agreed
@@MrLeckey
First
leckey cannot articulate his ideas well at all
I found it helpful when he talked about how presence is distributed
mindless copying is not art. An artist uses the inter-space to populate it with shadows of the Real. This bloke is blind and senseless. Pure nihilism and pseudo-creativity. I tell you what he did not forget to do however - take money for it.
Quick question Piotr. You know when you read something about trolling and how the internet is making us all shittier human beings, do you think they're talking about someone else?
Leckey is my age and from the same part of the UK. I share his accent. His work is original and all his own. It is angst and urban reality I've seen for myself. It is also an exorcism which you should factor in to appreciate his work. But he should move on now, that's for sure. The underpass should be buried .. or pulled down. I might do it myself.
@@MrLeckey tell em king
Its also the ignorance in assuming that this is a copy . when someone writes about a bridge in a story are they really copying it, even though they describe it in precise proportion? they are re-introducing it to us in story with care for our consideration, to perhaps use it to prod our imagination and engage our memories of a time and place, or create new one. surely that is more than mindless copying.
It is neither a blind nor senseless work.
Its visceral physicality is so wonderful and consistent with the real it immediately holds a credible link to somewhere we know or may have been. for me the way it is placed is so solid and demanding of our engagement that we are provoked to respond to it very presence, and feel things. (even though it is a representation) In this regard It performs 'its job' perfectly imo.
There is so much unhappiness (& nihilism) - in what you have said that begs questions about what we reject in certain works of art (& why) , or in art resembling spaces or objects we may identity or think we know - that I am inclined to further support such projects in the future, if not for the stories and memories they conjure, then for the responses and the sensibilities they disturb. thx (took me 5 years to edit this)