INTERVIEW
Guyer, Léonie. "On the Edge of Visibility.” Interview by Simone Kearney. Devotion: today's future becomes tomorrow’s archive, edited by Jarrett Earnest, PUBLIC books, 2022, pp. 272-287.
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ESSAYS
Anthony Huberman, Léonie Guyer: form in the realm of , CCA Wattis Institute for Contemporary Arts:
[excerpt]
Léonie Guyer makes paintings and drawings. They consist mostly of abstract shapes, usually modest in scale, made with oil paint or pencil. In her mind, an artwork is a place where countless decisions are condensed and compacted together, and she works to intensify that concentration by keeping her paintings small and reduced down to their bare essentials: color, surface, and shape. She tries to do the most with the least. And yet to call her works "small" is misleading. Better would be to say that she makes "immeasurable" works of art, which doesn't mean that they are epic in scale but simply that they are not meant to be measured.
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Stephanie Snyder, “Léonie Guyer,” ABSTRACT: Léonie Guyer, Ruth Laskey and Lynne Woods Turner, Douglas F. Cooley Memorial Art Gallery, Reed College:
[excerpt]
Guyer develops the abstract glyphs that become the dynamic foci of the paintings in relationship to an archive of her own drawings, but ultimately, each unique shape reaches fruition according to its own nature, as the painting evolves over many months. The shapes are inspired by objects and artifacts such as Cycladic figures (6500 to 1650 BCE) and antique Turkish prayer rugs (thirteenth to fifteenth centuries). Each one harnesses a unique simplicity and intimacy within the expansive whiteness of the ground, and each one possesses a pulsing interiority. As forms, they are not filled but forming - their intensity, not without humor and lyricism, can feel at times like a flash of insight or an oasis of repose - another dimension of the flow of being and becoming at the heart of Guyer's work.
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Lisa Radon, “Stargazing: Léonie Guyer's Constellations no. 1-7,” lumberroom.com. May, 2010
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SELECTED REVIEWS
Naz Cuguoğlu, “Thought Experiments with Léonie Guyer’s Work: November 27–December 7, 2018: 11 days” CCA Wattis Institute for Contemporary Arts. January 26, 2018
Mark Van Proyen, “Léonie Guyer @ CCA Wattis Institute”, Squarecylinder.com, November 14, 2018
Paul Maziar, “Flower(s) in Concrete at Fourteen30: Why we write about art,” Oregon ArtsWatch, April 9, 2018
Jen Graves, “Three Abstractionists Make Stuff: the Life of Forms is a Mystery, The Stranger, September 18, 2013
Will Heinrich, “I Want That Inside Me at Feature, Inc,” The New York Observer: Gallerist NY, July 9, 2013
Joseph R. Wolin, “Anonymous Tantra Paintings / Connected,” Time Out New York, February 7, 2012
Noah Dillon, “Connected,” Brooklyn Rail, February, 2012
John Motley, “Interior Margins featuring regional women artists working in abstraction,” The Oregonian, November 30, 2011
Victoria Blake, “Subtle Lines Connect Abstract,” The Oregonian, September 19, 2010
Kenneth Baker, “Local artists in Form + at Meridian”, San Francisco Chronicle, April 19, 2008
Ava Jancar, “Form +”, San Francisco Bay Guardian, April 9-15, 2008
Chris Komater, “Remote Satellite: Michael Damm, Léonie Guyer, Kyle Knobel,” www.Stretcher.org, March 3, 2006