Featured Wood Artist: Po Shun LEONG - Part II

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This is a two part interview and is continued from Part I.


What are you working on right now? What are the thoughts and inspirations behind the creation of this newest body of work?

In 2009, I began making sculptural objects, called “09”Series. Living beings, plants and animals inspires the objects.

Method to make the parts: Thin straight wood strips (think flat fettuccine) are individually glued tightly around ¼ “ to ½” diameter wood dowels. It takes from 15 to 30 strips to cover a single dowel. Some patience and a steady hand required.


Bloom, 2009.
Image courtesy of Po Shun Leong

Bloom, this sculptural object is about walking through the California desert when the flowers explode into bloom. Made of bleached maple with a band saw. Dimension is 9.75”H x 24”W x 7.5”D.


Hungry Dog, 2009
Image courtesy of Po Shun Leong

Every show should have an ugly black dog. It makes all the others look beautiful.

This piece was “Ebonized” maple made with a band saw. To “ebonize” wood, steel wool is soaked overnight in vinegar and sprayed onto the surface of the wood. This is a natural way to darken the wood. Dimension is 13”H x 12”W x 13”D, 2009


Tall, 2009
Image courtesy of Po Shun Leong

Imagine that this object had been unearthed from an ancient civilization. There was no reasonable explanation for its use. It is just a piece of wood whose sole purpose is to feed the imagination. This vertical sculpture is made of “ebonized” maple with a band saw. Dimension is 38”H x 12”W x 10”D.


Under The Sea, 2009
Image courtesy of Po Shun Leong

Bright forms sway on a coral reef. This sculptural form is made of painted maple with a band saw. Dimension is 13.5”H x 18.5”W x 14”D.


Blue Triangles, 2009.
Image courtesy of Po Shun Leong

My architectural training was key to the development of this recent sculptural work. In 2009 I devised a system of construction to create Blue Triangles. It is about the visual movement of the components, the electric color and the negative space it occupies.

Blue Triangles is made of painted maple with a band saw. Dimension is 17.5”H x 18”W x 11”D.



Wood back to Trees, 2009
Image courtesy of Po Shun Leong

Wood back to Trees is about a transformation back to growing forms. This piece is made of bleached maple with a band saw, dimension 20”H x 21.5”W x 12”D, 2009.


Could you tell us the story behind making "Dragon" for your grandson?


Dragon, 2009
Image courtesy of Po Shun Leong

"Dragon" is specially made for my grandson's blue room. Chinese dragons are good luck. Only the emperor could depict the dragon with five toes on the legs. Normal dragons have four toes but ours has just one toe, perhaps to indicate our status as people who work with their hands.

My grandson at one and a half loves to imitate the expressions of Percy and Gordon, the trains that have faces. Now he can try to copy the dragon's face.

This "Dragon" is 17.5" long.


What is the specific message you strive to convey to viewers?

The viewers are free to interpret their meaning(s). Perhaps the title can set the direction.

What is the most interesting comment (on your work) you have heard from a viewer?

The most interesting comment is a silent one that comes with a Mona Liza smile.

In my experience, people who talk too much about the work do not buy.

The most tedious comment is " How long did it take? I thought it took years." Said with a painful expression.

Try to make a living from that if it took years.


How long does it take to complete one sculpture?

You see. Even the nicest people ask the same question.


Please explain a bit about your creative process. How does it all start, what techniques and materials you used to create your wood sculpture?

People often like to see an image of the artist sketching an idea on the back of an envelope or on a larger wall. So I have a photo of myself drawing wildly. But this is theatrical and a set-up. Rarely do I draw to work out ideas.


Drawing. Image courtesy of Po Shun Leong.

Most of my designs are created spontaneously from an idea spark and by playing around with material, forms and the help of woodworking machines.

Adjustments or drastic design changes made on the spot seem to work well for me rather than adhering to rigid preconceived plans.


Po Shun in his studio. Image courtesy of Po Shun Leong

My method is generally one of a constructivist.

I make many shapes and components like a Lego set. It is like preparing a Chinese meal. The main work is in the preparation of the ingredients. The cooking is fast and spontaneous.

Naum Gabo, the sculptor and one of the fathers on early 20th. Century Constructivism encouraged me as a high school student in England. His influence was very important to the development of Modernism.


Po Shun at the bandsaw. Image courtesy of Po Shun Leong

I use wood because it is so forgiving and select the material only for color and texture. Mistakes can be transformed into an advantage, (which is the way to learn). This is not “fine” woodworking with beautiful dovetail joints and perfect finishing. I hate sanding and prefer tactile textures.


Po Shun's hammer. Image courtesy of Po Shun Leong

In my studio I do not use hand tools except the hammer to deconstruct the unloved ones.

Visit Cichon Fine Art http://www.cichonfineart.com/studiotour/californiapictures.htm to see a panorama view of my studio.


How have you handled the business side of being an artist?

In order to legally immigrate to the USA I had to set up a corporation that put me in a good position to learn and fulfill the obligations of running a business organization including a benefit pension plan.

I am very grateful for the benefits gained for the professional help from the lawyers and accountant. Also my wife has had a keen eye on the numbers.


Are you planning any exhibitions of your work in the near future?

2009 shows:

• Invitational, Venice Art Walk, CA
• Turned & Sculptured Wood, 26th Annual Exhibition at del Mano Gallery, Los Angeles, CA / July 18–August 15
• Transformation 7: Society for Contemporary Craft, Pittsburgh, PA
• Boxes and Their Makers, Messler Gallery Center for Furniture Craftsmanship, ME / September 11, 2009 - November, 2009
• Vida y Diseno en Mexico, Fomento Cultural, Mexico City
  
• SOFA CHICAGO 2009, Sculptural Objects and Functional Art, Chicago / November 6 – 8, 2009
  
  

Where do you see yourself in 10 years?

Progressing ahead.

Would you provide links to recent articles and reviews about your wood art?

There are books but I do not know about the reviews. There are articles on Google/Po Shun Leong pages.

Do you have website(s) for interested readers to learn more about your work? Would you like to share your contact info with our readers?

http://www.poshunleong.com/
http://en.wikipedia.org/wiki/Po_Shun_Leong

Do you offer any art classes? Are you available for commissioned works?

I do not offer any classes. I am available for commissioned works.

Representing gallery if any?

I am currently represented by Primavera Gallery, Ojai, California and del Mano Gallery, Los Angeles.

What advice would you give to an artist just starting out?

My advice is like a moving target, always changing, but the following is a constant. You are never too old to play around with wood and should not be afraid to experiment. The value of the events along the way rather than that unreachable destination can open us to new ideas.


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Featured Wood Artist: Po Shun LEONG - Part I

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First of all, would you please introduce yourself to our readers?



Cartoon portrait of Po Shun Leong, artist in wood.
By Holly Ollivander

I was born in Northampton, England, on the Ides of March 1941 (a festive day dedicated to the Roman god Mars) during the Second World War.

My parents emigrated from China. Being the tenth of eleven children I was not the one to take over the family laundry.

My high school education was at the Quaker Leighton Park School and then at the Architectural Association School of Architecture, in London.

Upon receiving the Diploma with Honors in 1964 I immediately left for Mexico to do voluntary community work with the American Friends Service Committee where I stayed until 1981. Since then I have resided in Southern California.

How did you get interested in wood art?

After arriving in Southern California after the age of forty I had no useful practical skills to get a paying job.

I had hoped to make it as furniture designer and had received awards in several international competitions. But the designs were copied by the Italians, Americans, Japanese, Chinese and in other countries.


Chair, Laminated ash, 1981
Image courtesy of Po Shun Leong


Early box, Hawaiian Koa, 7"H x 12"W x 6"D, 1984
Image courtesy of Po Shun Leong

One day we happened upon a street craft show in Los Angeles and saw some wood art. If they could do it, then I could try.

So I purchased tools and self taught myself woodworking skills and began selling small items in local shows. Eventually with more confidence and skill, I graduated to galleries as the work became highly intricate and inspiring one-of-a-kind wood boxes, some now in museum collections.


What kind of job(s) do you do besides creating art?

I have been surprised and fortunate to be able to live entirely by the artwork, to raise a family and put our two boys through Harvard and Columbia without any assistance.

Do you teach, write, curate shows, and/or manage a gallery?

No

Can you give our readers some insight into your woodwork in general?

This box is inspired from the legendary places of the World like Machu Picchu or the cliff dwellings of Mesa Verde.

The ruins, stairs and secret spaces are intended to set off a train of thought and a journey backwards again and again. Built in illumination brings the theatrical interior to life.


“Landscape” Box, front view from top, H: 28.5” W: 21” D: 13.5”, 2009
Image courtesy of Po Shun Leong

On the front surface the squiggly shapes are from scraps of a compressed wood waste structural “I” beam that my neighbor conveniently threw over the fence.

For contrast, texture or color in the carvings I used Philippine mahogany, maple, wenge, ebony, pink ivory wood, narra, pernambuco, buckeye burl and cocobolo all carved with a band saw.


“Landscape” Box, detail shot, 2009
Image courtesy of Po Shun Leong

Having plenty of pre-carved elements, ready to assemble is like preparing the ingredients for a Chinese feast.

Of the two kinds of woodwork, practical and non-practical, most of my art is of the latter category.

“Give me the luxuries of life; I can do without the necessities.” Frank Lloyd Wright

I have developed a constantly evolving series of wood boxes and furniture since 1983 that are more drama than function. They overflow with elaborate carvings that “transport” the viewer to some lost horizon, inspired from ancient or legendary civilizations like Machu Picchu or Mesa Verde. There is a flamboyant sense of shape, surprise and presentation.

What the viewer gets out of these boxes is more important than what goes in.

I try to transcend the limitations of the material and not be a slave to technique and trends.


What did you work on the past few years?

Every year, for the past few years I have been devoted to making a different class of objects in order to prod the mind for fresh ideas, with some exceptions.

What are some of the exceptions? Well, sometimes a person would commission an object that they saw from a past series that I would not be making in the current year. The "Landscape" Box is an object that I have developed over many years. Every one is different.

In 2006, I made boxes and art furniture.


Constellation Dining Table, H:32” Diameter:54”, 2006
Image courtesy of Po Shun Leong

Overlooking the ocean next to an east-facing window, this breakfast table waits for the early sun. The suns rays penetrate openings to the interior bringing a Jon Kuhn glass sculpture to life. Swirling spheres representing a constellation of planets support the glass top. Looking within the interior of the table, the glass sculpture is mounted on a tower in an imaginary city. At night, the inner city can be illuminated by hidden light.

This piece is constructed mainly by mahogany and many other woods. Laminated, bandsawn and carved.



In 2007, I took up painting again - I started working on a series of reverse glass paintings.

Reverse glass painting is an ancient European technique often referred as verre églomisé.

This technique was taken up by the Chinese who exported the paintings back to Europe and the Americas during the eighteenth century.


Sharman, Reverse glass painting, 24”x 24”, 2007
Image courtesy of Po Shun Leong

My paintings are collages of small individually colored glass panels, some precisely positioned or at random and each piece securely glued onto a flat plywood sheet for strength. Paint is applied onto the other side of the glass to protect the outer surface. The finished effect is like a mosaic panel.


Earth and Inserts, Reverse glass painting, 36" x 30", 1958
Image courtesy of Po Shun Leong

My first one person show was at the Hammersmith Art Gallery, London in 1957. This piece, "Earth and Insects", was shown at Soho Cooperative Gallery. The technique make the colors glow.


In 2008, pure design. I made simple curved low cost laminated furniture for international competitions.


Fortune Cookie Stool, H:16" H x 15"W x 16"D, 2008
Image courtesy of Po Shun Leong

Fortune Cookie Stool, 2008 - This stacking stool was inspired by the way a fortune cookie is folded. Pure design is about the reduction of parts to the simplest element in order to function. A flat piece of plywood can be bent into a strong three-dimensional structure by forming it in a vacuum mold.

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> To be continued in Part II ...