John LeKay

John LeKay (born 1 June 1961) is an English conceptual and installation artist and sculptor, who lives in New York City.

He was educated at Isleworth Polytechnic, London in 1977.

1983–1986, he created an installation, Non Terrestrial Black Bird of Paradise, consisting of a taxidermied crow, chairs, chicken wire, glasses and photos: this was exhibited at the Bronx Museum.

Inspired by the early work of Francis Bacon and the painting of a slaughtered ox by Rembrandt, he made a “meat series”, 1986–87.

An example of this is the 1987 sculpture, This is my Body this is my Blood, consisting of a cut open decapitated lamb carcass, nailed to a piece of plywood.

His 1987 sculpture, Wind pipe, was a double bed with a varnished sewer pipe on it.

In 1990, he held his first solo exhibition, at the Paula Allen Gallery, New York.

Exhibits included a sensory deprivation tank, and also a large tape recorder, whose microphone was placed inside a sound-proofed acrylic glass box in order to record the sound of silence.

Another sculpture subtitled Vanishing Object, was a cross made out of closet freshener, which slowly evaporated in a tall acrylic glass vitrine.

Roberta Smith wrote in The New York Times:

As a sculptor, John Lekay is interested in changing states, viewer participation and a strange, not always comfortable intimacy ... Anyone who thinks all this sounds a bit sophomoric would not be entirely wrong.

Nonetheless, these works generate an atmosphere of quietude and heightened awareness, a sense of time passing and things changing, that can engross and bring the buzzing SoHo scene to a momentary halt.

In the early 1990s, LeKay edited an underground magazine entitled Pig, the name referring to a Nostradamus quatrain about men with pig snouts in flying machines and standing for "Politically Incorrect Geniuses".

The main contributors were artists, including Rachel Harrison, Dennis Oppenheim, Gretchen Faust, Sean Landers, Rikrit Tiravaneja, Fred Tomaselli and Sue Williams, as well as Young British Artists such as Marcus Harvey, Angus Fairhurst and Damien Hirst.

1990–1994, he made "pour paintings" out of acrylic lacquer metallic car paint, using a hair dryer on some and putting others on a see-saw, swivel table to turn and tilt the paintings to create different shapes as the paint ran.

His inspiration for such works came from looking at a science catalogue's microscopic slides of viruses, bacteria, AIDS, bubonic plague and cancer, which he described as "quite beautiful under a microscope".

The Watercourse Way by Alan Watts suggested the idea of minimal effort.

He moved to New York in 1991.

Instead of higher art education, he travelled with a circus and worked at Pinewood Studios.

In 1991, he exhibited in the group show The Interrupted Life at the New Museum of Contemporary Life, New York, and showed Cryonic Suspension Dewar, a container filled with liquid Nitrogen at -196 °C, 320 °F below zero, a temperature which prevents biochemical and metabolic activity.

LeKay's intention was for a collector to buy the piece, in order to be frozen in it, when they died.

1991–1992, he exhibited at the Feature Gallery and Kenny Schacter Rove Gallery with "sex-pieces", consisting of copulating blow up sex dolls wearing caricature animal masks.

The other installation, Lazyboy Jesus, 1991-92 was a dime-store image of Christ on a Naugahyde La-Z-Boy armchair.

Andrew Perchuk in Artforum saw in the display, "psychological disablement, the inability to experience the spiritual amidst the noise of materialism, kitsch, television, and our own laziness. At the same time we feel the oppressive nature of much organized religion, which holds out the promise of spiritual solace to those willing to pay up."

He observed “a certain formal elegance”, but also that “LeKay attempts to shock, revelling in his obvious poor taste,” an example of the latter being Zipperdeedudazipperdeeday, 1991-92, which appropriated the voices of homeless black men.

George Melrod in Art in America wrote:

In LeKay's world, damage is omnipresent, every balance is precarious, and every stab at transcendence reeks of kitsch and desperation.

For all its calculated melodrama, his work captures something akin to genuine anguish.

LeKay described These Colors Don't Run, 1991-93’ (an American flag topping a garbage can) as "a suicide machine" and that he worked "on the fine line where something can be really awful or really beautiful."

In 1992, he had a show at the Randy Alexander gallery.

Work included a stained orthopedic mattress covered with dildos, a medical model of a diseased scrotum, a prosthetic leg brace attached to a three legged chair, and a wheelchair balanced on top of an aluminum stepladder, the latter piece representing shamanism.

Critic Gretchen Faust wrote, "There is a quirky humor underlying the work that reverses without warning into a strange and cutting malevolence".

In December that year, in a group show, Fever, at Exit Art in New York, he exhibited a leg brace resting on a three-legged chair.

In 1993, he began to make skulls covered in crystal: he has accused Damien Hirst of copying this and other ideas.

He publishes the web site, heyokamagazine.

John LeKay was born in London.

In April 1993, with a reputation as a "participant in a half-dozen trendy group shows" and a “strung out enfant terrible”, he held a show at the Cohen Gallery which “eschewed his previous sexual gimmickry, effectively blending humor and horror.” It was called The Separation of Church and State, consisted of installations from found objects, and was held in two stages with strong references to Christian iconography.

Two sculptures were shown in the first part of the show.

The title piece was a cruciform over stained carpet with a wheelchair in the centre on a mattress and Guns N’ Roses emanating from a tape recorder.

A cross formed from items such as brooms and curtain rods connected to four assemblages of household junk, such as a stainless-steel sink on top of a dirty kitchen cabinet, and a headless Madonna and Child sculpture on a black and white television set resting on a leaning toilet.