Lluis Lleó by Mimi Thompson & Keith Sonnier

BOMB 96 Summer 2006
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Lle 01

Watch Your Step, 10 frescoes on concrete on steel, 2005, dimensions variable.

Lle 03

Lleo’s studio, Rupia, Girona, Spain, 2005. Paintings visible through studio doorway are Spy, 2005 (at left), and Don’t Cry if Painting Dies, 2005. The sheep belong to a neighbor.

Lluis Lleó’s work either begins on the wall and then extends in a perpendicular direction or rises from the ground, lifting his imagery into space. Pairing traditional fresco techniques with metal’s more modern strength, Lleó creates unexpected environments with these painting/sculpture hybrids that are both dreamlike and visceral. Repeated rectangular shapes jut out from the wall like ethereal hatchets with red-paint “blood” on their sides. Delicate line drawings also organize the surfaces of his work into a delineated surreal world of bricks, pathways and trees. Lleó’s Catalan landscape has the compressed atmosphere of a Lorca play—quiet and tense with expanding emotion pressing against the surface.

Lle 02

Project for an installation (Between Periods), 2006, Es Baluart Museum of Modern and Contemporary Art, Mallorca. All images courtesy of the artist.

Lleó’s great-grandfather Joan was a decorative painter who embellished the ceilings of many Barcelona homes with clouds and angels like a provincial Tiepolo. (See Robert Hughes, “Lluis Lleó,” Galeria Carles Taché, Barcelona, January/February 2002.) His grandfather Lluis, a watercolorist, designed advertisements and posters, and his father, Joan, is an artist working today in Spain. Lleó arrived in New York in 1989, encouraged by his father to explore other cultures. He never went to art school but was taught by his parents. It’s worth noting that his interest in architecture, art and fresco continues a family métier that has also become the main graphic component of Lleó’s work. The culinary aspects of fresco—the mixing, the casting, and even the use of solid as opposed to applied color—have become the main ingredients of his latest body of work. His use of color, curiously enough, comes first from his interest in cooking as well as the chemical combinations of materials in fresco that rise and dry like some kind of baked cement wall. Lleó’s red exploded splashes and drips are connected to the drinking or letting of blood as well as to the connection of inheritance from grandfather to father to son. When one sees the red splashes or stains one should think also of the almost cartoon aspect of the splash or splatter, the inside joke, the connection between contemporary painting from Miró and Tàpies to Dalí and postwar American artists like Jackson Pollock and Ellsworth Kelly.

Lle 04

I Wanted to Be an Architect, 2006, fresco and concrete on steel structure, 52 × 22 × 26 inches.

Lle 05

I Wanted to Be an Architect, 2006, fresco and concrete on steel structure, 48 × 12 inches.

The making of three-dimensional objects, as well as painting, is still very much a concern in Lleó’s work. He expands the edge of the picture plane to investigate how far a three-dimensional object can control the space around it. This new series of work connects architecture to fresco to stucco to solid cast pigment in an expansive mode. One literally moves in and around the architecturally constructed void.

Mimi Thompson and Keith Sonnier are artists based in New York.

Gabriel Orozco by Carmen Boullosa
Orozco 01
Zilia Sánchez by Ivelisse Jiménez
Sanchez 02

The first time I looked at the work of Cuban-born artist Zilia Sánchez I was struck by how simultaneously assertive and retiring her massive shaped canvases are.

Sitting Bull Meets the Lone Ranger by Lee Jaffe
Get Back by Elizabeth Murray
​Elizabeth Murray Get Back

Originally published in

BOMB 96, Summer 2006

Featuring interviews with Bernard Piffaretti, Liz Larner, Tony Oursler, Kimiko Hahn, Mei-Mei Berssenbrugge, Park Chanwook, Anthony Coleman, Jesper Just, A.R. Gurney, William Forsythe.

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096 Summer 2006 1024X1024