#marcusleslie

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A Beautiful Life 2016 Enamel & Acrylic on Wood

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Hi loves, starting Monday the 8th I will be opening up my studio each Monday to teach small painting workshops. Email me here [email protected] or write me a message! Seats are limited! Greenpoint, NY.

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Fluid Consciousness: Marcus Leslie On Paper

By Osagi Oduwa

Marcus Leslie, Glad You Could Make It This Evening You Look Beautiful, 2015, Acrylic on Paper

Marcus Leslie. Photo: Osagi Oduwa for Gold Coast Art House

We’ve been taken with the work of Marcus Leslie here at Gold Coast Art House ever since we came across the visual artist’s expressive watercolor paintings earlier this year. Though he was born and raised in the Pacific Northwest, the gifted painter’s insatiable wanderlust led him to New York where he has been honing his craft while engaging in creative collaborations with other like-minded artists. 

A few weeks ago, we ran into Leslie at the opening reception for his latest solo exhibition, Paper, held at Open Space Studios, an innovative gallery and project space conceived by the designer/entrepreneur duo of Folasade Adeoso and Sasha Payton to foster the work of young independent artists. Leslie mingled with the crowd throughout the evening, brimming with excitement as art enthusiasts and connoisseurs, bloggers, and friends interacted with his paintings.

Much later, we caught up with Leslie at The Chipped Cup, a charming café he frequents on Harlem’s westside, to discuss his latest work and the evolution of his artistry.

Can you tell us a bit about yourself? Where are you from?

I grew up in Olympia, Washington, and it was alright, you know, for a small town. I moved to Seattle for five years after I graduated high school. I went to school for fashion design and lasted a few years before I realized that none of that was what I wanted. So I moved out to New York City, with no real plan or anything. I rode for five days, traveling on the Amtrak and the Greyhound, through Great Falls, Montana, Idaho, Minneapolis, North Dakota. It was inspiring to see the landscape change; I truly felt the vastness of America and when I got here I felt overwhelmed, but welcomed. But I never really felt obligated to stay in any one place. I’m actually heading back home in a few weeks, and excited to see my work evolve again with access to my old studio space and familiar equipment.

Tell us about your latest solo exhibition Paper. We were especially struck by the contorted figures that kept popping up throughout the show.

The Paper collection was an experiment in form, changing up the more familiar elements of my work, the way I’d been working before I moved out here. My work always stands to me as a very transparent window of who I am as an artist and where I am on this journey. It also functions as a language. In the Paper series, the language was of looming but muted expression and exaggerated figures, maybe a bit aggressive, simple slices of interaction within the rush of the city. I wouldn’t go back to school, but that was the starting point for me--my illustrations while studying fashion design eventually turned into my paintings, even inspired those contorted figures you see in my series.

Marcus Leslie, Other Beings & People, 2015, Watercolor on Paper

How would you describe your current visual aesthetic?

Paper is entirely watercolor, which was new for me as I said, because my oil painting days were back in Seattle. At first I really didn’t want to switch mediums, it almost felt like a step back to work with watercolors, but the experience has been transformative. When you put a line down with markers or graphite or oil for the most part that’s where it’s going to stay: it’s definite. With watercolor however you put a line down and the water spreads into wherever it wants to go. What I do is meld the controlled form of the human body with the fluid consciousness of water, and this relatable contradiction is probably what draws people in.

Would you say your paintings tell [hi]stories?

I’m always telling a story with my paintings, but the content changes as I grow. When I started out with oil painting I was telling a story of identity and the diaspora; being an African-American, versus being an African in America, and so on. But Paper tends to be a story of individual history, a return to something primitive, less artificial than constructed group identity, and with no concern for time or place.

What has your experience within New York’s artistic and creative community been like in the time that you’ve been here?

The “art scene” is such an abstract concept, and so difficult to pin down. But you feel it. In New York it seems like everybody knows everybody despite the idea of this “exclusive” scene. I’m just now getting accustomed to it--having my work noticed and being introduced more into it. New York might not be very friendly towards new artists in terms of the art market (the point where you have to start seeing your art as...a product to be sold), but the exposure here is so crucial. I’m definitely very excited for the future. Even with the constant competition against hundreds of other young artists.

Do you have any particular projects planned for your upcoming trip back to Seattle?

I’m actually going to be working on a short film! It’s my first time working with film and it’s a lot of work, I know, but I’m so excited for the process. The project is actually rather conceptual--it’s called The Sound of Light and it’s more about sound than about visuals. It’ll be very minimal, about the evolution of sound alongside human development.

Marcus Leslie, Ruby Living, 2015, Watercolor on Paper

We did hear a few comments about your use of minimalism at the Open Space show…

It’s been a recent thing for me, like I said. Those works are more universal, I feel, or tap into a greater universal consciousness. They reflect the times we’re living in and leave room for the viewer to fill in their experiences. Sometimes less is just more. And that’s the feeling I hope to bring to my filmmaking as well. I’m very thankful to the ladies of Open Space--it was a very encouraging night for me and I’m already seeing more doors opening.

As a new artist, painting for less than five years, did you ever imagine you would end up going through so many changes in the process?

I figured I was just gonna “do” it, and take the changes as they came. But that’s my attitude towards a lot of things. And sometimes it does put me in a tough situation, but I’ve been taking risks since I was young and I’ve always loved the excitement of it. People say “you’re crazy” and “you should plan more” but I think it inspires me and opens my eyes to a lot of what is out there. It breaks down the fear of trying something new. As an artist, spontaneity can be the most rewarding thing. It’s good for people that want to be inspired and inspire others.

Do you see yourself settling down anytime soon?

Well I suppose we all pray for some stability at the end of the day. But Seattle will always be home to me, my base, even though I see myself doing a lot of traveling. France, South Africa, Nigeria, and everywhere I go I find things that remind me of home. I don’t think I could be comfortable if I wasn’t exploring. I never understood the idea of spending your whole life in one place--I just wouldn’t feel comfortable. I don’t do well with confinement because I adapt to whatever situation I find myself in and that is how my work grows.

Whose work are you enjoying right now? Are you influenced by any new artists you’ve come across?

I definitely pay a lot of attention to different contemporary artists, some of whom I’ve met, but I wouldn’t say any of them really have influenced my work. I like February James’ paintings a lot--her work is very different from mine however. I like Kara Walker, Markus Prime, and so many other young artists all making it or trying to make it. We’re all telling our own stories and developing our own language. I have to pay more attention to my development first.

In our social media driven world, when do you feel most peaceful and in tune with your true self?

Technology is like the “odd child”, being both useful but also a bit...sketchy. The benefit of social media tends to be how quickly it allows you to get your work out to a large audience, but it puts this pressure on artists--this need to rush everything. But that isn’t art. You can’t just produce and produce in order to keep up with the hunger of social media. I just don’t feel at peace with that mindset. I’m steady with my art, almost methodical. I want to take my time to research and feel and (laughs) allow my paintings to dry before posting them up on Instagram. It takes time.

Photo: Osagi Oduwa for Gold Coast Art House

What have you been up to these days?

I just moved in with a couple of artists, and I’ve been really enjoying going to plays recently! I also had my first experience as an extra on a documentary coming out next year. That was a fascinating opportunity--to see the construction of the film, that methodical process. I felt so inspired to be in that space; I’m really looking forward to expanding my work into this new terrain.

So, are we ever going to get a peek at those oil paintings you spoke about?

To make a long story short, I have a few things under development going into the new year. You may be seeing some very different work coming out of me in a few months--my life is changing quite dramatically, and my work with it. Plus who knows, I may one day soon be able to get some of my bigger works shipped over here. If everything works out.

Keep up with Marcus Leslie on his website and via Instagram at @marcuslesliestudio.