Shield of Phaeton
Acrylic on board
8 x 16 x 1 inches
Leonard Goldstein has been an Artist and Designer since the age of 5. He was born in 1945 and Raised in the Bronx New York. He attended the prestigious high school of industrial Art from 1958-1962, There he studied under Architect Dr. Erwin T. Muller. Leonard and a select group of students were hand picked to work on the design of the lower level of the George Washington Bridge for the Architecture firm Armen and Whittney.
In 1965 Leonard Attended the University of New Mexico where he studied Architecture with Thomas Verland and Painting with the late John Kacere.
In 1967 Leonard met the Sculptor John Chamberlain in New Mexico. Leonard was offered an apprenticeship with Mr.Chamberlain and drove with him back to NYC where he helped produce the Radical Art series, compression art and some early foam sculptures for the Leo Castelli Gallery (1967-1972), and the Guggenheim Museum.
In 1969 Leonard befriended and worked with Political Artist and Master Sculptor Peter Gourfain. Leonard helped Peter with many of his early outdoor sculpture installations that appeared in and around NY state an NJ in the early1970’s, he also photographed these events.
During his years living NYC, Leonard Co- designed and built The Floating Foundation of Photography for Maggy Sherwood with Artist Roy Slamm. (1969)
Director Robert Wilson’s First theatre studio on Spring Street. (1971)
( Design and construction).
Collaborated in building of the Dwan gallery at 420 West Broadway. (1972) With Gordon Hart, Peter Gourfain and Susan Hardcastle and Paul Morgenson. This group also did the interior construction for the Weber gallery.
I would call myself a re-emerging artist. I have always painted but I also enjoy designing and building which is how I was able to live and support my painting habit. I have always had the urge to create art. I was 5 years old when I first conceptualized this desire. I studied at the High School of Art and Design and graduated in 1962. From there I went to New Mexico and studied Architecture and Painting with the late John Kacere. I was introduced to the sculptor John Chamberlain in 1967 became his assistant for a time. After working with Chamberlain, I move to SoHo in 1969 and lived in the basement loft at 98 Greene Street, where I began my abstract pointillism paintings. There I developed my own technique and process and my style as an artist. I participated in some early shows in SoHo and worked for many artists building and renovating lofts, theaters and galleries. I made my living as a master carpenter in NYC for 45 years. I have always loved art and have never stopped painting and creating. Now I am also exploring sculpture and other areas where I combine my skills as a designer.
My primary work done in Soho at 98 Greene Street from 1968- 1978. There I painted the “Great Rainbow Series” and really worked at developing my self as an abstract pointillist. Using radar weather pattern imaging, a new technology at the time. I was inspired to paint on oversized canvas using more then one million dots to illustrate this concept. Having to repeat the same motion became very difficult and frustrating and this forced me to develop my own technique for creating perfectly symmetrical dots without the use of paintbrushes. My work has been influenced by the Father of pointillism Georges Seurat and by reading about Chevral. 19th century physicists who discovered early optics and in 1839 laid out the groundwork for impressionism, pointillism and post-impressionism and eventually abstract art. His ideas about light changed everything. I think Seurat illustrates Chevrals point of view. He takes it all and breaks it down for us to examine. In pointillism I found a way to paint that gave me immediate satisfaction. During this time I came to realize that no two people see the same thing in the same way. Women and men have different eyes. Men have more rods and women more cones, as a result men see further and women see wider. So we are viewing things differently not only because of personal experience but also the physiological differences in between the sexes. In the early 1970’s I began reading Joseph Campbell and started to “ look inside”. What was I doing? Why? What does it all means? I realized that human species has been doing this thing called “Art” for 40,000 years, since the caves of Chauvet in France for example. Their work still has us pondering its meaning today. This led me to question, is art really a quest to combine intuition into matter? (Yin / Yang). The Greeks in 600 BC started to move into what they called “modernity” and the written word began to take over. But for the previous 38,000 years, Art was the means in all cultures used to communicate with the gods. The Ancient Egyptians believed that art was the actual language of the gods and that all art in all forms went immediately to the other world. I use signs and symbols as a way to designed and understood across languages. I feel my later art reflects the constant wonder and fascination we have as a modern society to figure out the “ Unknown”. I try to use a spiritual and symbolic language in my work, symbolism being the language before “words”. I feel it reflects my visions of how I see the human experience thus far. I consider myself an evangelical visionary. I use natural patterns in my work and practice restrained ornamentation similar to the work of Gustav Klimt. I think behaviorism and the modern computer mode have highjacked our view of reality. I work within the language of abstraction which I feel also transforms reality. Reading the work of Crick also effected my work he was the co- discoverer of the 4 letter DNA language together with the 20 letter protein language and the translation mechanism that links us all. That they were most “unlikely” to come about naturally on earth, that system was in action before it here. I explore this theory in my painting "Panspermea” and “ Art begins where nature ends.”