Bigger and better things: Russell Leng
Russell Leng is a former Trinity Western University student who focused his time and studies in the Art Department. Not one to be held back, Russell dedicated his art to pushing the traditional boundaries of what his style should be, all while countering the status quo that defined TWU art students. Over summer, Mars Hill had the opportunity to catch up with Russell at The Cheaper Show in Vancouver. Here are a few things we talked about.
MH: So what’s The Cheaper Show all about?
RL: It’s essentially 200 artists from around the world, with each piece priced at $200. Most of the time an artist will sell for less than what their piece is worth, which creates a really unique environment to show in. For instance, an artist who typically sells a piece for $10,000 could be displayed beside somebody who has never sold a painting before. Also, tons of people come and it is the biggest art event of the year in Vancouver, so it’s great for exposure and its really fun.
MH: As a TWU student, how was it making the move from such an artistically small community to a place like Vancouver, and how has that influenced your work?
RL: After school it seemed natural to move to Vancouver, because that is where you will survive as an artist. But it wasn’t even TWU that was the small community, since I grew up in Langley. A lot of my artistic inspiration comes from growing up as a suburban, upper class Christian male. That sounds like the most un-cool thing ever, but If I did anything other than that it wouldn’t be genuine, and the best art comes from honesty. People really respond to honesty.
MH: How is the Vancouver art scene?
RL: Here I feel like there is a lot more competition, and people aren’t as supportive. I often feel like an outsider looking in, but maybe that’s the Langley complex.
MH: So, is creating and selling pieces your primary occupation right now?
RL: Right now it is. It wasn’t always like that, and I don’t know if it always will be, but right now it is, so I’m thankful.
MH: Do you still hold ties at TWU?
RL: Totally, I love the education that I got. A lot of people you meet in Vancouver have gone to Emily Carr, but the advantage of TWU is that, well, when I graduated there were twelve art majors, so you can really thrive in that. You don’t get lost in a sea of artists. Along with that there is the professor to student ratio, which is two to one or one to one.
MH: The TWU art program, the facilities we have aren’t too great…
RL: The facilities suck. They’re horrible.
MH: I mean, maybe aside from facilities, is there anything you would add to the to improve the art department?
RL: I would say, one constricting factor of the Art Department, and maybe TWU in general, is that it is very Langley focused. It’s important for students to get out to shows. We need to encourage artists to expose themselves to what’s happening in the art world, not just what’s happening in Langley.
MH: I remember you working on New Nature Systems 1 and 2 in the studio during your senior year. It was definitely something fresh, and you can clearly see the influence your work has had on Art students who came after.
RL: Those two pieces were definitely the launching point for what I am doing now, and the cohesive series that stemmed from those pieces are what I will be pursuing during my masters. It was a bit different from what everyone else was doing at the time. I saw a lot of people trying to mimic their professors and I really wanted to respond against that. As inspiring as the professors are, make sure you’re not trying to replicate what they do for a good mark.
MH: A big hang up in the Art department is censorship of nude forms…
RL: I have never been interested in painting the figure so I never was affected by that policy. But I think it’s detrimental to censor. It’s stupid.
MH: Can you talk a little bit about the work that you are currently doing?
RL: I’m trying to juxtapose geometric shapes with organic marks to get at the different forms of environment we inhabit. With man-made structures and natural environments, the city sort of amalgamates those two things, and I am looking at the effects that has on humans. In my most recent work I’m attempting to look into the future to conjure up fantastical environments. I’m making landscapes of completely imaginary places, and while doing that I’m trying to challenge landscape painting. In our culture, landscapes are kitsch and “above the couch” art, so I’m working to challenge people’s perception about what a landscape painting should be. In doing so, I try to take out the emotionality of my work. I’m not doing it for myself; I’m doing it for everyone else to achieve a universal understanding.
MH: How do you work best?
RL: I work at night because I’m less distracted by the obligations of the day. As far as the music goes, I feel like electronic music is methodical, especially when I’m taping lines and doing movements that are repetitions.
MH: So what do you listen to when you work?
RL: Radio Zero Podcasts. They are DJ’s on CiTR. I listen to a lot of electronic music.
MH: What’s coming up next?
RL: In September I’m going to be having a show with Daniel Baird, and that will be in Chicago. Also, Bethany and I will be moving to Scotland in the fall, and I am going to be doing a Masters of Fine Arts at the Edinburgh College of Art. I am pretty stoked to get back to school and push the limit of what I have been doing.
You can check out more of Russell Leng’s work at www.russellleng.com
For more information on The Cheaper Show visit www.thecheapershow.com
Mathew Braun
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