Articles and Reviews

The Village Voice, "Documenting the New Towers of Old Hell's Kitchen", by Katherine Knowles, April 2, 2018

Art Dependence Magazine, "The Monolith: An Interview", by Jennifer Sauer, January 10, 2018

Colossal, "The Monolith: Artist Gwyneth Leech Turns the Destructive Force of a New Building Into a Source of Inspiration", by Christopher Jobson, November 29, 2017

The Norwalk Hour, "Spanning three generations, a family's art on view in separate Norwalk galleries" , by Francis Carr, April 23, 2015

American Craft Magazine,"Drink Up", by Sarah Buttenweiser, April/May 2014

Azure Magazine, "Grind", by David Dick-Agnew, November/December 2013

Telegraph Magazine,"Gwyneth Leech: the Art of Paper Cups", by Sophie de Rosée , September 6, 2013

The Sunday Star Ledger, "Over and Over", by Dan Bischoff, March 10, 2013

Boston Magazine "Cambridge Anthropologie Hosts Live Art Exhibition with Gwyneth Leech", by Olga Khvan, November 22, 2013

New York Times "An Art Exhibit That's Good to the Last Drop", by David Dunlap, February 14, 2012

Pennsylvania Gazette, "Cup O'Doodles", by Molly Petrilla, July/August 2011

Hand Eye Magazine, "Full Brew and View", by Sarah Buttenweiser, August 2010

Additional press page for Gwyneth Leech Cup Exhibitions:
Articles, Reviews and Blogs 2011/2014

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The Spur, "New York Artist Paints Perfect Families and More", by Ben Erickson, January 31, 2007

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The Marshall Independent, "Family Impact", by Cindy Votruba , January 30, 2007

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The journal of the Lincoln Heights Literary Society, "Don't Talk About Religion or Politics", by Don Newton, January 30, 2006

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Art New England, "Gwyneth Leech: the Way of the Cross", by Lois Goglia, October/November 2005

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New York Times, Dance Review: Suffering and Rebirth", by Jack Anderson, March 17, 2000

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Pennsylvania Gazette, "Visions and Videos of a New Scotland", by Susan Lonkevich, June/July 1998

Selected Website Listings
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Two Coats of Paint, "On Procrastinating: Gwyneth Leech", by Sharon Butler, May 6, 2015

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Time Out London, "A year in coffee cups, an electric ‘concept car’ and an endless flight of stairs: London Design Festival kicks off this weekend", by Katie Forster, September 14, 2013

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Psychology Today "Do What You Love, Money Follows: The Coffee Cup Artist", by Susan Biali, December 9, 2011

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Penn State Altoona News, "Imprints on a Landscape: The Mining Project", by Noel Feely, May 1, 2006

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Episcopal Life, "Contemporary Icons", by Henry James, March 2006

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Faith and Form, "A New Journey: the Stations of the Cross for Our Time”, by Gwyneth Leech, March 2006

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From the Floor, The Church and Contemporary Art, by Todd Gibson, October 20, 2006

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Off Off Off Art, “Passing it Down”, by Jeffery Cyphers Wright, July 2005

GWYNETH LEECH: THE WAY OF THE CROSS
By Lois Goglia
Art New England
October/November 2005

New York City artist Gwyneth Leech spent 2004 creating fourteen 18-inch-by-21-inch paintings on wood of the Stations of the Cross. These works were commissioned in March 2004 and are now permanently hung on the walls of St. Paul's Church on the Green in Norwalk, Connecticut.

Leech admits that she was dubious about accepting the commission, for she knew little about the Stations of the Cross. In order to understand the crucifixion iconography, Leech studied renditions of Christ's suffering at the Metropolitan Museum. She began to draw connections between the traditional paintings of the fourteen Stations and the gestures and expressions of suffering depicted in the press from Iraq, the United States, Saudi Arabia, Sudan, Israel and the Gaza Strip.

In a bold and compelling manner that has offended some, Leech contemporized her Stations of the Cross by integrating images from these current areas of conflict into the traditional Stations of the Cross settings. Specific references to Abu Ghraib and Guantanamo Bay are easily recognizable. Although Leech's paintings depict each of the Stations of the Cross step by step, her images are unorthodox: She sets her paintings in the desert landscape of the Middle East. Christ's ethnicity changes through the series. Usually he wears contemporary red Muslim robe; but in Station Ten, to some viewers' shock and displeasure, Christ is stark naked. In some settings, soldiers wear Italian military uniforms from World War II; in others, soldiers carrying rifles wear American uniforms.

Leech's version of the fourteen Stations is a startling recapitulation of the tale of Christ's suffering: a metaphor for the suffering in today's frightening world of war, violence and terrorism.

Lois Goglia

Art New England, "Gwyneth Leech: the Way of the Cross", by Lois Goglia, October/November 2005