Hello Stranger – Paddy Leung Feature

“I like to take an existing idea and turn it into something surreal and repulsively grotesque.” – Paddy Leung

That’s right boys and girls, this young and oh-so-cute small girl, is not only a creator of monster’s with pulsating deformities, but she lives to draw her audiences in and make their inside’s explode with disgust. Paddy Leung, born and raised in Canada is having her first premier, as the first artist and co-founder of Darkmatters.

Can you quickly give us some background information on you?

Well, I was raised in Markham, a suburban town just outside of Toronto. My parents are both from Hong Kong and immigrated to Canada in the 1980‘s to start a family. I am currently a full time student, earning my BFA (Bachelor of Fine Arts) at the Ontario College of Arts and Design, majoring in Drawing and Painting. I am always looking to grow as an artist, and I hope to have the privilege to work in the field of Special Effects within the Film Industry after I graduate. My work is usually relief surface based -almost like sculptures, and sometimes they could look realistic or really surrealistic grotesque.

I have noticed that your work involves a lot of other materials other than drawing and painting, how did you come about falling in love with all these different materials?

I was fortunate enough to take a course on plastics, where I found my love for working with different materials outside paint. There I explored how to work with machines and also understand the process of creating work that’s really unconventional just by using foam and plastic materials.

Which material have you been working with the most?

Well, I started to play with industrial materials and I seem to like Polyurethane (insulation spray foam) the most. It was recommended by a good friend of mine, to create something monstrous out of it. I’ve always loved exploring different materials and their different uses while documenting the process of my work and now that I’ve had the privilege to experiment with materials outside the world of ‘paints’ I am really beginning to create my own style of work. By keeping track of the process of my material, I am beginning to understand how Polyurethane works and how to control the foam without making too much of a mess.

You say that you’re really starting to define your own style, what would you say your style consist of?

I like to take an existing idea and turn it into something surreal and repulsively grotesque. My influences are mainly through wax figures and anatomical models, particularly those that have morbid defected human body parts. I take the image of typical body parts and mix them with deformities to create exquisitely disgusting creatures.

I’ve spent so many years trying to define my own work and style, and it’s always been hard to be original and keeping myself as honest as possible. I’ve always found that being original in m y work and as an artist is challenging, because being in an art school you’re constantly surrounded by people who are so talented in your field. You can’t help but feel intimidated. Thankfully over the past few years I’ve really learned to grow and develop not only as a young artist, but also as a person. Now, I can comfortably say that I am bringing something new to the table.

When did you really start to express your inner monster?

I’ve been creating creatures in my own world since I was young. It was my way to escape from my problems at home, school, friends, even relationships. But if I had to pin point exactly when I really found my inner monster, I would say that it was when my father had gotten sick two years ago.

While we waited in the waiting room of the I.C.U ( Intensive Care Unit) for three months, I would always carry my sketchbooks with me. I drew creatures that were tumorous and decaying. It was a way to get away from what was happening at the time, just like how I have always dealt with my problems, even so it really helped me develop as a person. As real as his sickness was, and as much as I was aware of reality, I found comfort in things that weren’t real and I felt safe in my imagination.

I wouldn’t categorize your art as “drawing” or “painting,” but that is your program at your school. In terms of difference in style and work, you’re really far off from other kinds of art in your program, how did you come about getting to this area of expertise?

I do realize that my work wouldn’t usually be categorized as drawings or paintings, but I do feel that my work still involves these aspects of art; it’s just not limited to that field. I am less of a painter and more of an artist, my interests are in more than one field and I like to practice all kinds of ways to create art. Now that I am more comfortable with who I am, and my differences in my work, I’ve really begun to allow myself to explore and experiment more. I am less directly influenced, and have created a path that I can call my own. Even so, without many people I would have never have gotten even half as close to being to where I am now. I am very grateful and I always will be.

Do you have advice for other young emerging artists like yourself, as to how to keep themselves motivated and inspired?

Yes, sketchbooks! Sketchbooks are my life. I have a different sketchbook for almost everything in my life. Whether it be recording the process of experimenting with materials, drawings, an agenda, or a bedtime notebook. I find they each play a certain role in keeping myself motivated to create new work. I always have art in my life.

Any methods? Secrets, you’d like to share?

I think many artists will agree spontaneity is one of my most treasured “methods” of working. The closer I am to a deadline, the better the results become. However, obviously your work speed is an element of consideration when being ‘spontaneous’. I always set mini deadlines for myself, it helps me set a time and a goal to get my work completed.

What are your aspirations in terms of a career and as an artist?

Other than developing my personal work as an artist, I do hope to work in the film industry as a part of the Special Effects department. Over the past year, I’ve had the privilege to work as a Scenic Technician and Designer for a small theatre company. Fortunately for me I made a dear friend, Jason Chagnon who is a retired set painter and also had experience working with Special Effects for films. He has really inspired me and provided me with guidance, passing on some very valuable knowledge with techniques. I really wish to specialize with deformities, monsters and maybe even zombies!

It appears the subject of teeth is very important to you. Can you explain to us the reason why you chose teeth, and what exactly they symbolize?

In relation the teeth, and the idea of collecting are both symbols of coming of age, and maturity or adulthood.

The idea of collecting had always been very intriguing to me, when I was younger I collected things in hopes to use them as materials to make art. It was the easiest way to provide for myself without buying anything. I was very drawn to the concept of reusing things as material. Now that I’ve gotten older, I have reversed the role of collection in the sense that I am creating toys to be collected.

With that in mind, I thought about the first item almost everyone first collected. Instantly I traced back to collecting teeth for the Tooth Fairy. Teeth symbolize the different stages of life very obviously. When you’re young you have your baby teeth taken out, then half way through your youth your wisdom teeth, and when you become a senior you lose all your teeth.

What really throws me off as an audience is the faces on the toy. I find that when you put a face on something, you give it a soul and maybe giving it some kind of personality. It almost disgusts you, actually it creates a chilling effect of giving something we keep as a part of us and a tool of ours; life. Is this a common concept of yours?

It is probably one of my most reoccurring concepts other than deformed parts and grotesque images. I find that when you apply a face on a regular concept people change their approach to the concept. The audience themselves create a story within their own minds and try to simplify a difficult concept. The interaction one has with a piece of art, is just as much as apart of the art as the process and product of it.

Often your art includes different parts of the body, but you like to choose parts that do not particularly interact with one another on a regular basis. Is there a reason why there is a thumb attached to the tooth? Does it symbolize anything as well?

Other than the fact that the thumb gives it stance, the nail on the thumb actually is a parallel to that of the roots of the tooth. The pain of pulling teeth out can be compared to the pain of pulling your nails out. There was an episode from Ren and Stimpy, a really popular cartoon show (full of adult content) from the 90’s. This episode really exaggerated the pain of pulling out teeth. As a kid I was really drawn to watching this show, and this definitely inspired me to create these monsters.

What are you hoping Darkmatters can do for you, and other artists like yourself?

Spread the love.

Seriously?

Yes. We’re looking to build a community for artists; we want to make a place for them to market their creations and promote themselves. I’ve always had a passion for promotion, and I know that as an artist promoting your own work, entirely independently may be difficult and hard to accomplish successfully.

Darkmatters provides the business aspect of being an artist, it gives a sense of entrepreneurship and allows artists to gain knowledge and experience communicating with other artists or even those who are not directly part of the art world. It allows you to develop a community and relationships that could last forever.

It’s interesting that you say that Art and Business co-relate. Doesn’t the business aspect of it give it a possible chance of losing your creation? –Homogenizing?

I can see that as being an issue, but our aim is to be as honest and true to the artists’ vision as we can possibly be. I just know that as an artist it isn’t easy setting your foot down and not being biased. But it is important to have other people’s input, other than yourself. It is important to expand and connect with the world, instead of being restricted to your own.

Do you think you will be working with Darkmatters as an artist again in the near future? Who else is Darkmatters aiming to work with?

Definitely. It’s only the beginning, I hope to make more projects, but right now we’re primarily focused on expanding the company outside our own hands. We hope to have the privilege to keep the artists who choose to work with us, so we can develop a solid relationship and team. We are trying to focus on expanding the company and connecting with the artists within Toronto and in Canada.

Is there something that you feel as though that you can offer in the team that no one else can?

I feel as though I really have the perspective of artists in mind, and I can relate to the other artists in the future who would want to get involved. I hope to be the one who can tie the artists to the other business partners of Darkmatters. I really look forward to expanding this project and reaching out to other artists!

Thank you so much for your time, I’ve really enjoyed doing this interview with you and I really hope that your company flourishes and that you grow as an artist. Is there anything you have left to say, any expectations and thoughts?

The whole process has been a real adventure; I have no idea what to expect next. However, I am interested to see what kind of people would be interested to buy my toys outside close family and friends. I am so anxious and excited at the same time. Just completing the making of the toys has been a really huge accomplishment!

To see more of Paddy’s work, you can find her on her blog http://paddyleung.com