Lesley Bodzy Art
Spring Street Studios
I hold an MFA from the School of the Art Institute of Chicago and have studied at Mount
Holyoke College, Hunter College, and the Art Students League of New York. My work is
represented by galleries in Saugerties, NY, Houston, TX, Williamsburg, VA, and Jersey City,
NJ and it has been exhibited widely across the United States and abroad. Recent shows
include ChaShaMa and Sculptors Alliance in New York City. I also recently exhibited a
selection of my work at Holy Art Gallery in London, UK, Site:Brooklyn, Emerge Gallery in
Saugerties, NY, the Mattatuck Museum in Waterbury, CT, the Susquehanna Art Museum in
Harrisburg, PA, and the Meadows Gallery in Tyler, TX.
I am a sculptor and painter working in New York City and Houston. My body of work
explores the ways in which materiality can give form and visibility to psychologically
complex dimensions. Trauma, loss, and desire are recurring themes I approach through
material processes as I devise a personal metaphorical language. My work is biographical in
essence but my aesthetic language allows viewers to find their place among the bare
narrative outlines that hold each piece together. My projects often involve series through
which a loose narrative can be traced. Each takes on various forms intended to position the
viewer as a witness as well as a co-author, creates new and unpredictable cycles of
thoughts and associations, and provides an experimental opportunity to challenge one’s
assumptions and perspectives.
My practice is steeped in a genuine passion for materials and their expressive potential. I
often let materials guide me through the creative process. Their malleability and resistance
point me towards a subject that emerges as part of a meditative concentration—a tactile
and open-ended dialogue that often results in a deeper reflection and comprehension of
personal struggles. Manipulating, rearranging, and layering become gestural statements I
perform to process events from the past and exorcise, through the material presence of the
finished piece, their impact on the present.
The aesthetics that characterize my work are in part informed by the sculptural abstractism
of the 1970s—especially the work of female pioneers like Lynda Benglis, Lynn Umlauf, and
Merrill Wagner, artists that have been strong influences in my research. As a result of these
influences, in my relationship with materials, I favor open form and ambiguities, privileging
aesthetic solutions that gesture towards the imperfect and incomplete.
My minimalist aesthetics are often counterpointed by bold colors that dramatize each piece
in order to attract the viewer’s attention to what is often concealed or barely perceptible in
our lives. Much of my practice thus revolves around the notion of monumentalizing the
ephemeral through the creation of an idiosyncratic aesthetic language. It is in this context
that my work can be seen to have a psychoanalytical/introspective edge. Some of my works
are opportunities to reconsider “hard to come to terms with” circumstances, dramatic
events, or fleeting/causal moments that nonetheless end up defining our personalities, our self-esteem, and our relationships with others.