W42ST, "Gwyneth Leech — Making paintings of NYC under construction as the skyline changes before our eyes!", by Phil O'Brien, September 21, 2020
Art Spiel, "Artists on Coping: Gwyneth Leech", by Etty Yaniv, May 29, 2020
City Realty, "Meet Gwyneth Leech, the Artist that Beautifully Paints NYC Construction Sites", Coleman, Michelle Sinclair, September 5, 2018
The Village Voice, "Documenting the New Towers of Old Hell's Kitchen", by Katherine Knowles, April 2, 2018
Hazal Sahin Blog, "Gwyneth Leech ile New York’tan tüm dünyaya online galeri: One Vanderbilt yükseliyor!" by Hazal Sahin, November 1, 2020
City Realty, WATCH THE VIDEO: "Artist Copes with Diminishing Views in Documentary 'The Monolith'", by Michelle Mazzarella, November 29, 2017
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
Azure Magazine, "Grind", by David Dick-Agnew, November/December 2013
Boston Magazine "Cambridge Anthropologie Hosts Live Art Exhibition with Gwyneth Leech", by Olga Khvan, November 22, 2013
Pennsylvania Gazette, "Cup O'Doodles", by Molly Petrilla, July/August 2011
Psychology Today "Do What You Love, Money Follows: The Coffee Cup Artist", by Susan Biali, December 9, 2011
The journal of the Lincoln Heights Literary Society, "Don't Talk About Religion or Politics", by Don Newton, January 30, 2006
Faith and Form, "A New Journey: the Stations of the Cross for Our Time”, by Gwyneth Leech, March 2006
GWYNETH LEECH: THE WAY OF THE CROSS
By Lois Goglia
Art New England
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.
Art New England, "Gwyneth Leech: the Way of the Cross", by Lois Goglia, October/November 2005