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Essay [excerpt]:

Guyer develops the abstract glyphs that become the dynamic foci of the paintings in relationship to an archive of her own drawings, but ultimately, each unique shape reaches fruition according to its own nature, as the painting evolves over many months. The shapes are inspired by objects and artifacts such as Cycladic figures (6500 to 1650 BCE) and antique Turkish prayer rugs (thirteenth to fifteenth centuries). Each one harnesses a unique simplicity and intimacy within the expansive whiteness of the ground, and each one possesses a pulsing interiority. As forms, they are not filled but forming - their intensity, not without humor and lyricism, can feel at times like a flash of insight or an oasis of repose - another dimension of the flow of being and becoming at the heart of Guyer's work.

- Stephanie Snyder, "ABSTRACT: Léonie Guyer, Ruth Laskey and Lynne Woods Turner"
[click here for PDF of complete essay]


Recent Reviews:

Jen Graves, "Three Abstractionists Make Stuff: the Life of Forms is a Mystery," The Stranger, September 18, 2013

Will Heinrich, "I Want That Inside Me at Feature, Inc.," The New York Observer: Gallerist NY, July 9, 2013

Helen Miller, "Drawing a Line in the Sand at Peter Blum SoHo," The Drawing Center: The Bottom Line, March 13, 2012

Joseph R. Wolin, "Anonymous Tantra Paintings / Connected," Time Out New York, February 7, 2012

Noah Dillon, "Connected," Brooklyn Rail, February, 2012

John Motley, "Interior Margins featuring regional women artists working in abstraction," The Oregonian, November 30, 2011

Victoria Blake, "Subtle Lines Connect Abstract," The Oregonian, September 19, 2010

Lisa Radon, "Treasure Hunt: Léonie Guyer at the Lumber Room," ultra: arts Portland, May 22, 2010

Kenneth Baker, "Local artists in Form + at Meridian," San Francisco Chronicle, April 19, 2008

Ava Jancar, "Form +," San Francisco Bay Guardian, April 9-15, 2008

Chris Komater, "Remote Satellite: Michael Damm, Léonie Guyer, Kyle Knobel," www.Stretcher.org, March 3, 2006

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