Charles Leak: Capturing the Cosmos
Double Mars-Moon Transit with Satellite, 45 x 30 in, oil, enamel, graphite on Archival Fabriano Paper.
Artist Charles Leak
Double Sun-Moon Transit with Satellite, 60 x 40 in, oil, enamel, graphite on wood panel
Mars-Moon Transit with Star System, 22 1/4 x 30 in, oil, enamel, spray paint, vinyl on Archival Somerset Paper.
Summer Caprice, East End, 50 x 27 in, oil, ink, enamel, gold mica on Sintra mounted on wood panel.
Sun-Moon Transits, 44 1/2 x 30 in, oil, enamel, graphite on Archival Arches Paper.
Winter Nocturne, East End, 50 x 26 in, oil, ink, gold mica on Sintra mounted on wood panel.
Instagram: @charlesleakstudio
Multi-media artist Charles Leak creates abstract works on paper inspired by the cosmos, science fiction, natural history, and film. This amalgamation of influences is well matched by his use of many different materials in each piece, including oil, enamel and graphite.
How did your creative journey begin?
My creative journey started when I was 5 years old. I was always interested in the beauty of nature, science, and how things worked. I spent a lot of time outside as a kid, but indoors we did a lot of painting by number and drawings and I loved the smell of enamel paints that came with the sets. The smells of the materials were a very important part of what led me to continue to where I am today. I was always recognized during elementary and high school as a good artist. My dad had all the books on the Surrealists such as DiChirico and Dali. I loved all those guys. It's when I discovered other artists - Barnett Newman, Jules Olitsky and artists as crazy as Big Daddy Roth that things began to get exciting. After high school and college, I moved to New York and where I live today as well as in East Hampton where I have my studio.
What does a typical day in the studio look like for you? How has it changed throughout the last five years?
I have my cup of coffee first. Then I go into my studio around 10:30 in the morning. I clean up and get ready and basically continue on with the work I want to do that day. I think about whether I want to work on paper or canvas or both. I plan the materials I want to work with but normally work on more than one idea simultaneously. I choose the correct music I want to hear. Look to see if my Frenchie, Henri, is ok and begin. I work continually with a couple of breaks until 6:30 - 7:00 pm six days a week.
What does your thought process for incorporating different materials into your pieces look like?
My thought process begins once I decide which idea or two I'm working on. I think about what will be the best medium in relation to color and drying time. Whether it's oil paint or enamel or ink, matters. I consider how I would combine the materials, which one is the most suitable to accomplish my goals in the portrayal of the idea, and what works best for the series. For me, which type of materials and colors are key since I always keep in mind the longevity of the final product. Besides the fact that you have a great idea, it's important that it's done correctly for the permanence of the work.
Have you been using any new materials that you are particularly enjoying working with?
I've been focusing on working with several different printmaking papers. Experimenting with the different papers and how they respond to the different mediums allows you to be more spontaneous and to produce more magical outcomes. Even though I don't want to ruin even one piece of paper, it's different to work on paper than canvas and is not as precious. You feel looser and freer.
How many pieces are you typically working on at one time?
I usually work on 5 to 6 pieces simultaneously. When I have my idea, I start creating each group. The stories present themselves as I go. But by working on more than one piece at a time, the pieces are given the chance to develop organically and I am able to work out the nuances. If I decide I'm going to combine oil, enamel, and graphite, I know what I need to do first. From there it's a process and is pretty exacting.
Do you have a vision for your completed series when you start them?
My vision is clear once I've decided if they are individual works or pairs. Then I begin to think about how I would love to frame them and imagine them in an environment and how they would look on the walls of a gallery or a collector's home.
You talk about your work being inspired by great artists, writers, musicians and filmmakers. Is there specific work or person who has been particularly inspiring to you lately? In what ways?
As far as inspiration, my ideas are based on the cosmos and the planets. I am particularly inspired by Arthur C. Clarke, and Star Trek. I appreciate the great science fiction writers and filmmakers. On average I read about 30 to 40 books a year in the area of natural history that includes Darwin and the lives of the Aboriginal peoples in Australia. I observe nature and am always inspired by that. Lately, I'm inspired by new young artists, such as Nigel Cooke but also still inspired by Richard Diebenkorn, Ellsworth Kelly, James Turner - the English Nocturne painter and James Turrell, as well as the classics - DaVinci and Galileo. A particular thank you to James Webb and the new James Webb telescope that has allowed us to see things you could never see before or ever imagine.
What are your future goals and aspirations for your artwork and creative practice?
My future goal is to feel truly satisfied that my artwork is able to convey my feelings and thoughts and be given a space to be seen by people and collectors who are able to appreciate it. The ultimate goal is to be included in museum shows and to contribute in a bigger way so I would feel like I've done something worthwhile in honor of the greatness of humanity.