Monumental in scale, 138L by Leonardo Drew plays on the tension between order and chaos, at once immersing the viewer in the black wooden terrain. Transforming the raw materials such as wood, scrap metal and cotton through the processes of oxidation, burning and decay, Drew’s works reflect on the cyclical nature of life, articulating the erosion of t.mes .

In 138L, hundreds of wooden pieces are joined into an architectural, wall-mounted sculpture. The combination of straight edges and organic irregularity caused by the pieces of protruding wood creates an overall shape that evokes state lines or national borders. Populating this space are pieces of scrap wood, all painted black to create a cohesive, abstract form. In the bottom of this mounted sculpture are small, regular pieces, densely packed in neat grid lines, evoking the birds-eye-view of cities such as London or New York. As the viewer’s eye ascends, the wooden pieces grow in size and evolve to become increasingly organic in form. On the upper right of the wall mounted sculpture are elongated pieces which mimic the shapes of skyscrapers, whilst on the upper left, larger pieces of wood pile over each other into a sculptural spillage. Following an intuitive approach to composition, materiality and the language of abstraction, 138L bursts from the wall with a natural dynamism, simultaneously evoking the bustling chaos of urban life.

Currently at Tate Modern, London, comparable works by Drew are on view as part of the ongoing exhibition Louise Nevelson and Leonardo Drew. Additionally, Drew’s works have been shown internationally and are included in numerous public collects ions including The Metropolitan Museum of Art, New York; The Museum of Contemporary Art, Los Angeles; and The Hirshhorn Museum and Sculpture Garden, Washington, D.C.. Drew currently lives and works in Brooklyn, New York.