Articles and Reviews

W42ST Magazine, As it Rises and Rises, Gwyneth Leech Paints The City That’s Never Finished by Sarah Beling, June 18, 2022

Modern Steel Construction Magazine, Oil (and Steel) on Canvas by Geoff Weisenberger, December 1, 2021

Arizona Foothills Magazine, New Exhibition at i.d.e.a. Museum, Mesa Highlights the Power of Architecture, by Christina Silvestri, January 21, 2022

All Arts, "Artists of Instagram: Meet Painter Gwyneth Leech", by Nahal Amouzadeh, October 15, 2020

W42ST, "Gwyneth Leech — Making paintings of NYC under construction as the skyline changes before our eyes!", by Phil O'Brien, September 21, 2020

Art Spiel, "Artists on Coping: Gwyneth Leech", by Etty Yaniv, May 29, 2020

City Realty, "Meet Gwyneth Leech, the Artist that Beautifully Paints NYC Construction Sites", Coleman, Michelle Sinclair, September 5, 2018

The Village Voice, "Documenting the New Towers of Old Hell's Kitchen", by Katherine Knowles, April 2, 2018

Art Fix Daily, Gwyneth Leech: Construction Series, by Susan Teller, February 18, 2018

Art Dependence Magazine, "The Monolith: An Interview", by Jennifer Sauer, January 10, 2018

New York Times "An Art Exhibit That's Good to the Last Drop", by David Dunlap, February 14, 2012

Real Estate Weekly, "You Should Be in Pictures...", by Sabina Mollet, November 22, 2019

Collateral TV, "The Monolith, Gwyneth Leech’s window on art",

by Giulia Guido, December 6, 2019

Vasari 21, "All About the New York Artists Circle", by Ann Landi, February 10, 2019

Hazal Sahin Blog, "Gwyneth Leech ile New York’tan tüm dünyaya online galeri: One Vanderbilt yükseliyor!" by Hazal Sahin, November 1, 2020

Visi, "WATCH: Gwyneth Leech’s Painted Buildings" by Lindi Brownell Meiring, January 9, 2018

City Realty, WATCH THE VIDEO: "Artist Copes with Diminishing Views in Documentary 'The Monolith'", by Michelle Mazzarella, November 29, 2017

Colossal, "The Monolith: Artist Gwyneth Leech Turns the Destructive Force of a New Building Into a Source of Inspiration", by Christopher Jobson, November 29, 2017

Two Coats of Paint, "On Procrastinating: Gwyneth Leech", by Sharon Butler, May 6, 2015

The Norwalk Hour, "Spanning three generations, a family's art on view in separate Norwalk galleries" , by Francis Carr, April 23, 2015

American Craft Magazine,"Drink Up", by Sarah Buttenweiser, April/May 2014

Azure Magazine, "Grind", by David Dick-Agnew, November/December 2013

Telegraph Magazine,"Gwyneth Leech: the Art of Paper Cups", by Sophie de Rosée , September 6, 2013

The Sunday Star Ledger, "Over and Over", by Dan Bischoff, March 10, 2013

Boston Magazine "Cambridge Anthropologie Hosts Live Art Exhibition with Gwyneth Leech", by Olga Khvan, November 22, 2013

Teller Blog, "Family / Cities Shift on View", by Susan Teller, April 17, 2013

Pennsylvania Gazette, "Cup O'Doodles", by Molly Petrilla, July/August 2011

Psychology Today "Do What You Love, Money Follows: The Coffee Cup Artist", by Susan Biali, December 9, 2011

Additional press page for Gwyneth Leech Cup Exhibitions:
Articles, Reviews and Blogs 2011/2014

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The Spur, "New York Artist Paints Perfect Families and More", by Ben Erickson, January 31, 2007

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The Marshall Independent, "Family Impact", by Cindy Votruba , January 30, 2007

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The journal of the Lincoln Heights Literary Society, "Don't Talk About Religion or Politics", by Don Newton, January 30, 2006

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Art New England, "Gwyneth Leech: the Way of the Cross", by Lois Goglia, October/November 2005

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New York Times, Dance Review: Suffering and Rebirth", by Jack Anderson, March 17, 2000

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Pennsylvania Gazette, "Visions and Videos of a New Scotland", by Susan Lonkevich, June/July 1998

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Penn State Altoona News, "Imprints on a Landscape: The Mining Project", by Noel Feely, May 1, 2006

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Faith and Form, "A New Journey: the Stations of the Cross for Our Time”, by Gwyneth Leech, March 2006

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From the Floor, The Church and Contemporary Art, by Todd Gibson, October 20, 2006

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The Episcopal Church, Contemoporary Icons, by Jerry Hames, March 1st, 2006

Cambridge Anthropologie Hosts Live Art Exhibition with Gwyneth Leech

By Olga Khvan

November 22, 2013

The artist is spending three days drawing on paper cups in the Harvard Square store’s window. Anthropologie has also partnered with Leech to sell ceramic versions of her artwork.

Unlike many of us, Gwyneth Leech does not throw away a paper cup after finishing her daily dose of hot coffee or tea that was served in it. Instead, the artist keeps it and later uses it as a surface for her drawings, each one capturing a social moment, whether it’s an interaction with a friend or simply an encounter with a barista at a coffee shop.

In 2009 when Leech was working a part-time job, her workplace switched from styrofoam to paper cups. That’s when she discovered that she immensely enjoyed drawing on their curved surfaces. Since then, Leech approximates that she has produced around 1,000 of these works.

“At first I thought I was procrastinating—sitting in my studio every day for hours drawing on cups, while the paintings were getting dusty on the wall. But then I realized it’s my art form,” says Leech. “Shakespeare had sonnets, Bach had fugues, and I have used paper coffee cups.”

The project has prompted several live art exhibitions, including one in a storefront in New York City’s Garment District (where Leech has her studio), one in the Flatiron Building, and now, in the windows of Anthropologie’s Harvard Square location at 44 Brattle Street in Cambridge. Leech was approached by the brand’s chief merchandising officer through a chance meeting during an alumni weekend at her old high school in Philadelphia. Shortly afterward, Anthropologie agreed on a collaboration with the artist, transforming eight of her designs into porcelain versions.

After launching the collection with a live art exhibit in the windows of Anthropologie’s Regent Street location in London in September, Leech has now set up shop in Cambridge for three days. Yesterday, on the first day of the exhibit—which includes a display of 365 cups—the artist says she was pleased with the “receptive audience,” including Harvard professors who have provided her with “educated commentary and questions.”

Leech and Anthropologie are now in discussion for further collaboration, with the possibility of three more cup collections that could come out in 2014 and 2015. But for now, the artist plans to continue with the project as is, while also experimenting with reconfiguring them into different forms such as traditional paintings and sculpture.

“The cups are a great form for me because I have so many ideas. I can get them out really fast [on the cups], and they feel really concrete. For me, they have more existence than the images in my sketchbooks. I’ve always had trouble getting images out of a sketchbook—this is my sketchbook now,” she says. “I also like the idea that each one of these images could be the start of another idea—infinite variation.”

Additionally, Leech hopes that the project will disseminate the idea of upcycling.

“The artifacts of the everyday are not just throwaways, but represent actual moments in time and can be turned into symbolic artworks,” she says. “I like the idea that art can be made anywhere, on anything. You can keep going and generating images and ideas and projects. It’s art of the everyday in every place.”

Boston Magazine "Cambridge Anthropologie Hosts Live Art Exhibition with Gwyneth Leech", by Olga Khvan, November 22, 2013