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
DANCE REVIEW; Suffering And Rebirth Dramatized By Flamenco
By JACK ANDERSON
March 17, 2000
New York Times
Flamenco, Butoh, African, tap and modern dance were skillfully combined with speech and acting in Shigeko Suga's ''Shiku Hakku: The Eight Sufferings,'' which Indalo Artists presented on Sunday afternoon at the Club at La MaMa.
The production examined forms of human woe, and the action was both allegorical and grittily realistic. Dramatic vignettes were juxtaposed with danced outbursts, most of them derived from flamenco. Given the work's grimness, the relentless flamenco stampings and clappings came to symbolize inescapable doom. Some dramatic scenes concerned lonely individuals. In others, groups taunted outsiders.
A particularly effective sketch featured Alan Spaulding as a fellow who tried to do a jaunty tap dance while talking about his life. Yet as he mentioned his problems, other dancers burdened him with objects and his tapping grew heavy.
Throughout the production, Gwyneth Leech drew portraits of the cast in India ink on sheets attached to the space's walls. But near the conclusion, she depicted mothers and babies. Kumi Kuwahata danced a solo in which she seemed to be giving birth and people in shining robes approached her joyfully. The moment suggested that despite the world's miseries, new life can offer new hope.
The cast included Minouche Waring, Atsuko Kino, Mami Nakae, Bergin Michaels and Ms. Suga. Ms. Nakae, Ms. Kino and Mr. Spaulding created some of the dances. There was additional choreography by Maria Alba, Mieko Sieto, Elena Andujar and Masahiro Kunii. And Yukio Tsuji was a guest artist in an original percussion score by Yoshitaka Shimada.
The production continues through Sunday in the intimate cafe at La MaMa, the theatrical complex at 74 East Fourth Street, East Village.
New York Times, Dance Review: Suffering and Rebirth", by Jack Anderson, March 17, 2000