“Perhaps the best way to explain what Leslie has done is to say that he is probing the intersection of painting and computer-based art, and then using the photographic print as his output. The works on view were made by "drawing" or "painting" on a tablet computer; […] There is no ink or oil paint here (no camera either), no digital scanning of physical works made by himself or others, no appropriation or collage; it is all direct input of gestural motion, captured by a stylus as colored pixels, then further modified and manipulated via software.
What is truly fascinating about these images is the way Leslie moves back and forth between the realistic and the representational, making hybrid portraits that have alternating moments of rich detail and unexpected paint program flatness […] (which raises the mind bending question - is it possible to make a photo-realistic photograph)?
This isn't a love affair with New Aesthetics machine generated imagery and artifacts, but instead a ground breaking combination of old and new. In many ways, these works have nothing to do with issues inherent to photography, at least as we know it today. They force us to consider what photography might evolve to mean (and include) if "painting" and "computer art" are permanently swirled into the mix, and what might emerge if these tools are then pushed to their limits by artists who defy categorization. […] We're way out on the bleeding edge here, which is why we ought to pay attention.”
-DLK Collection blog, June 12, 2012-