Critical Excerpts


SALVATORE SCARPITTA, in the catalog for "Leonard Streckfus: Lo Scultore del Gran Ri-Fiuto", his show at the Galleria Il Salotto in Piacenza, Italy (2002):

Le sculture di Leonard sono glifi, distinte lettere dell' alfabeto della sua vita, che segnalano la densita dell' ecologia come pure la presenza del sopravvivere di un mondo immaginario non diretto a diventare un semplice elenco di creature, ma uno strumento attraverso il quale torna ad esistere un invisibile mondo selvaggio.

Leonards sculptures are glyphs, letters of his life's alphabet, signaling the density of the ecological as well as the survival of the imaginary not directed at becoming a roster of creatures but addressing the instrument where the wild and yet imagined exist.

 

 

LUIGI SANSONE, in a statement on the occasion of the exhibition "Leonard Streckfus: Anima/Inanima: Found Object Zoomorphism" at the Italian Cultural Institute, New York (2009):

The faculty of Streckfus of seeing in various objects, otherwise discarded and considered rubbish, the components essential to the creation of his animals, makes us reflect on the inexhaustible capacity of this sculptor to interpret in an artistic key the ancient philosophical theory of Parmenides: Nothing is created, nothing destroyed... He bestows on every face... a particular expression that communicates the sensations that he is perceiving, like the animal that is picking up a distant scent or is stretched out running, or is relaxed after a splendid meal: Beyond their physical demeanor, he evidences their psychological state as well.

 

 

GLENN McNATT, in The Sun, Baltimore, Maryland (2005):

(Streckfus's) works recall the poor art materials of Italy's Arte Povera movement of the 1960s, as well as the mix-and-match collages of earlier Cubist, Futurist and Constructivist artists, the combine paintings of Robert Rauschenberg and the surreal box constructions of Joseph Cornell. All of them, like Streckfus, found a weird beauty in the cast-off artifacts of a society based on mass production and planned obsolescence. They discovered that when resurrected, such objects could be given new life as art.

 

 

EUGENIO GAZZOLA, in Liberta, Piacenza, Italy (2002):

La capacita sua non e' tanto quella di fare dell 'oggetto che era un' immagine de qualcosa d' altro – anche se e' su questo piano mimetico che noi, pubblico, lo misuriamo -, quanto l'individuazione, la restituzione fisica di una delle forme che l'oggetto in se' contiene. Una delle possibili. Perche' si tratta di cose, materiali, dati prima che dispongano di un nome – esattamente come accade per un crogiuolo di metallo fuso. Comprensione dell' oggetto e quindi comprensione della molteplicita' che in se' racchiude.

(Streckfus's) ability is not so much to make an object that was an image of something else – even if it is on this mimetic level that we, the public, evaluate it – as much as the individualization, the physical restitution of one of the forms that the object itself contains . . . Because it is about things, materials, given before a name is arranged – exactly as it happens for a crucible of molten metal. Understanding of the object is therefore comprehension of the multiplicity that is contained in it.