Hidden Spaces # 7: The wonderous world of Leon Pericles

From memory I saw my first Leon Pericles piece when I was at school and immediately launched into my own pitiful attempt at replicating his collage effect. Thankfully the piece never made it out of my bedroom and certainly not into my Year 10 art folio. Leon’s work is sublime. Every time I see a piece I fall in love all over again. So you can imagine my excitement when I got the chance to visit his studio and hear about his process first-hand.

Thanks to the Friends of the Art Gallery of Western Australia a small number of us were invited into the Tardis-like Mosman Park studio. The small shop window defied the four large studio spaces within.

The afternoon began in a sunny courtyard situated between the two gallery spaces. Even this space did not escape the Pericles touch, with sculptures featuring buoys and golf tees amongst other things.

Moving upstairs to the large light filled gallery we were set free to ponder over several large pieces. One, a medical themed piece, featured the key hole used in keyhole surgery, a unique contraption for retrieving worms, and a bow tie … a nod to the specialists’ penchant for such neckties.

Nearby was a rock and roll themed piece which includes a range of ‘pills’. As usual each piece required intense examination to pick up the details and not miss any of the subtle humour.

In another gallery we saw the breadth of a creative mind. Instead of the well-known etchings there were other treasures. A piece with four sides and when you turn it they tell a different story.

Another piece with several small wind-up music boxes strapped to it. When you turn them all on at the same time the sound is phenomenal.

The next studio was swamped by a large press and draws of small knick-knacks. It was in this space that we experienced the delight of Leon explaining his process. I was amazed to hear the amount of effort that goes into each piece

‘It takes the same amount of time it takes to make 3 or 4 paintings.’ Leon explained.

He begins by drawing the original piece and transporting that onto a metal plate. This alone can take a month.

Ink is then rubbed into place which according to Leon ‘takes a lot of time and effort.’ A sheet of paper is damped and placed onto the press. Another piece of paper is popped over that to protect a piece of material that protects the press. The press is then screwed down to a specific level. Finally all is revealed … the first piece off the press.

‘Any artist will tell you this is the most wonderful part, when it comes off for the first time,’ beamed Leon, clearly having lost none of his enthusiasm for the process.

It’s only then that the artist might pick up an error, which takes him back to marking up the plate and starting the process again. When the optimum result is obtained the final press level is confirmed and the measurements or written down. Finally the piece is coloured up.

It’s only then that it can be laid on the table and the knick-knacks assembled. Once done the piece is signed, numbered and … the plates are broken! Broken!

‘They get broken so that no one else can ever make them. I can guarantee it is number 1 of 100 ever to be made.’ said Leon.

The knick-knacks were a story in themselves. Opening one of the draws I found skulls, a House of Skulls and shrunken heads. I can only imagine what the police and insurance claims manager would think, if heaven forbid he was ever broken into and had to fill out an insurance claim. Thankfully the draw also contained hundreds of Buddhas to balance the karma.

Leon said he drew his inspiration on things he’d seen during his travels. If he liked something he had to source 100 of them. If he couldn’t source them he and his staff would make them.

One of the most poignant moments was when someone asked about the ideas behind one particular piece. It was wonderful to see Leon’s face light up with joy as he described the piece, it was if he’d only just finished it. When someone commented about it being a good idea Leon said ‘yes’ which took me by surprise at first until he continued …

‘I can’t take any credit for the idea, when you have a brain like that, it’s just genetics, ideas bubble up and then you work and work to get it done.’

I can’t tell you the number of times I’ve heard artists make a comment like this. So many decry the idea of talent instead focusing on the amount of work involved. Having now seen the process I can understand why.

Back home I pondered what an incredible privilege it had been to peek inside such an iconic studio. Aside from hearing about the process I’m always fascinated by artists’ studios, and Leon’s was a wonderland. Most interesting for me was an incredibly innocuous looking box sitting ignored on the shelf. It housed the all-important instructions on how to print each piece. It’s not always the flashiest item that’s the most treasured.

While I’m yet to be able to afford an original Pericles it was an utterly priceless afternoon. It left me inspired and pondering what happened at night when the lights went out and all the little knick-knacks came out to play. It also helped resolve why the efforts of a Year 10 high school student had no hope of looking anything like a Leon Pericles masterpiece.

If you get an opportunity to go to the studios make sure you grab it. Many thanks to Leon and his wife for opening the studio and the friends of Art Gallery of WA, for yet another wonderfully organised afternoon.

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