FROM THE DESK OF THEORY & PRACTICE

How does one trust the unique vision & process of one’s practice while remaining radically open to the varied input & criticism of others?

“Untitled October” by Leo Cy Wyatt; acrylic latex co-polymers on canvas (72 x 72 x 3 inches).

Showing one’s work to another offers a rare relational intimacy that often registers with great somatic intensity. Witnessing another person attend to a thing one’s made alone offers an awe of overwhelm. Why would anyone give their time & psycho-physical powers to a thing one made?

When it’s time to…

FROM THE DESK OF THE ESSAY

The practices we build in remembrance of the dead become the afterlives of the dead for the living.

Clyfford Still, PH-929, 1974. Oil on canvas, 114 x 172 inches (289.6 x 436.9 cm). Clyfford Still Museum, Denver, CO.

The beaches in St. Petersburg, Florida, shimmer, flickering sand that phosphors against the bay’s cool turquoise translucence intermittently inscribed by waffling heatwaves bending in ribbons, defined then blurred in that ancient futurity, the between worlds, those visible & observable & those not.

Water whooshes sand as fine as flour between…

FROM THE RACE & HIGHER ED DESK

If whiteness is always piratical & appropriative, what would it look like to face the oblivion of itself?

From a series of paintings by Leo Wyatt titled [After Cecily Brown]. Acrylic latex co-polymers & elastomer on canvas (72 x 108 in.).

Whiteness is a sibylline poetics of insatiability. Think fork-tongued. Think slithering serpent, from Eden to the Jungle Book.

It urges coaxes all alterity—marked by difference—into its orbit. It devours.

It envisions & commits unthinkable acts knowingly &, with moralizing naivety, manipulates the former acts or inactions as narratives of historical…

FROM THE OPINION PAGES

Why are we writing about how to write & not writing what utterly & wholly compels us?

Painting by the writer hereof, Leo Wyatt. Acrylic latex co-polymers & elastomer on canvas (18 x 18 x 1.5 in.)

There are days like yesterday, when “I found”— greenhorn that am I ever—a professor sharing elaborate resources and coursework about Wallace Stevens’ (the greatest American poet of the twentieth century) later work & its relationship (intellectual and philosophical, though I’m down for a queer reading of any text) to George…

FROM THE PAINTING DEPARTMENT

What happens when we de-value valuation? What happens when we abandon language itself & are left only with the materials of painting?

A painting by Leo Wyatt. Acrylic latex co-polymers & elastomer on canvas (48 x 60 x 2 in.)

From the alley situated messily behind my brother’s house a dog barks & the sun sets, lighting the clouds. It’s cool, 75 degrees Fahrenheit.

The absence of cicadas strikes me as an audiophonic poverty. The state’s polymorphous in a personality disorder kind of way: it shifts various shapes & identities…

THE HOMELESSNESS DIARIES

Conversations with a Denver cab driver about the future of the U.S.

The Stout Industrial Co. logo, designed by Leo Wyatt.

The sun moves into the blinds of my friends’ apartment’s windows, splitting into rays. It reminds me of my favorite cubist painting, Nude Descending a Staircase, by Marcel Duchamp.

The plants lean toward diffracted rays. A lime-green light seems to float into the room & linger as I zone out.

PAINTING’S TERRORISTIC IMPULSE TOWARD THE TYRANNY OF THE SIGN

A painter & poet reflects upon the subversive power of painting.

A six-by-nine foot painting that has warm colors that feel like spring morning sun on the skin & cooler autumn dusk colors.

With two duffel bags slung over my shoulders—a red one with a Toyota insignia & an unmarked black one—& twenty paintbrushes connected by speaker wire in a kind of ritualistic-looking, oversized necklace, I walk up the stairs from the basement & head out into the yard of dirt & half-standing…

The pervasive, pernicious reproduction of whiteness even in the name of antiracism, decoloniality, & like discourses

Original painting by Leo Wyatt; Acrylic latex co-polymers on canvas (55 x 75 x 3 in.).

I’m driving a 1997 Plymouth Voyager van on Interstate 80 through the agricultural corridor of the plains.

Eastern Colorado’s scrubby grass & a few “dairy farms” extend toward a horizon whose event seems simply to be continued catastrophe for high margins.

The “barns” of the “farms” consist of two-story mounds…

Leo Cy Wyatt

Leo Cy Wyatt is a painter, poet, essayist, & founder of THE STOUT INDUSTRIAL CO. They in Denver, Colorado.

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