Leslie Pontz

 
Seed Pod I, mixed mediaCactus Arm Flowered 5, crocheted wire, iron, thread, 26 x 20 x 5inSac or Pod?, wire, thread, iron, paint, 21 x 7.25 x 5.75inCactus Flowered Arm (detail), crocheted wire, iron, thread, 102 x 24 x 12in
Sack or Pod? (detail), wire, thread, iron, paint, 21 x 7.25 x 5.75inCooper Sack! Definitely, wire, wood, iron, paint, 24 x 8.75 x 5.75inBud Internal, mixed mediaBud Internal (detail), mixed media
Cooper Sack! Definitely (detail), wire, wood, iron, paint, 24 x 8.75 x 5.75inBasket Pod 2, mixed media, 4.5 x 8.75 x 9.5Enclosed?, wire, monofilament, wood, paint, iron, 21.5 x 8.75 x 5.25inUntitled (Cactus Flower series), mixed media
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Leslie Pontz creates unique sculpture by crocheting wire forms and combining them with iron and fiber elements. The result is non-traditional fiber sculpture that challenges the senses and the mind. Leslie holds a Master's degree in printmaking from Syracuse University and was the recipient of two grants from the National Endowment for the Arts through the Pennsylvania Council of the Arts as an Artist-in-Residence. She is the former owner/designer of Leslie Pontz Design, an international manufacturing company that produced artist designed and hand printed line of table linens and related tabletop products.

Leslie has shown internationally in invitational and juried exhibits in Paris, Brazil and Venezuela as well as throughout the U.S. She is the recipient of several awards for her work. Leslie is a co-founder of ArtQuilts at the Sedgwick, a nationally acclaimed east coast venue for the exhibition of art quilts. At present, she is represented by Gravers Lane Gallery in Philadelphia, Pennsylvania, Boston Art Inc in Boston, Massachusetts, and Wendy Haas of the Cervinni Haas Gallery in Scottsdale, Arizona.

Her work is featured in many private and public collections including but not limited to the Best Western, Kamm, and Philadelphia Museum of Art collections.

STATEMENT:
"I remember thinking on my first visit to the desert how glorious it was with its grayed colors and hard shapes and soft sand and prickly textures. There were so many contrasts in this quiet world of sand and lizards. Yet from the very first moment that I experienced this environment, it seemed so peaceful, full of shapes and textures that did not seem to go together but definitely wanted to live together. Since that time I have continued to be intrigued with exploring the juxtaposition of contrasting elements that are far more exciting existing together than independently. By combining materials like crocheted metal, monofilament, natural wool, thread, linen, and rusted industrial elements, I am able to explore this concept of co-existing contrasts that constantly reminds me that life itself presents an array of conflicts that always need balancing.

Light is important to my work. There is an external form that is quite easy to see and touch, but there are also inner forms and textures that are created by the glazing of the materials and forms. As the unexpected combinations of materials are layered one over another, the light allows the viewer to discover the new textures that are created and see through to the inner fabric/vitality of the piece. Without the inner play of the light, so much in these multi-dimensional pieces could be lost.

The rawness of my finished work is also an integral part of the artistic statement. It is a statement that stretches the boundaries of “shoulds” and “should nots,” of perfection and imperfection. I find it very invigorating to work without pre-set boundaries and rules, because that gives me an energy that I believe transfers to the “canvas” as I push the materials around until the finished piece emerges. Working with this kind of an open mindset also provides me with a sense of freedom. There is no such thing as a mistake, and that is a wonderful freedom."

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