Theo Leonowicz is a visual artist who specialises in traditional photographic analogue processes and printing. Having received his B.A. in photography from the University of Nottingham Trent in 2020, he is now completing his final year studying a Masters in Photography at the Royal College of Art
Leonowicz has participated in several group exhibitions throughout his career, including "Work in Progress 2022" at the Royal College of Art's online exhibit, "Letchworth Open 2022" at the Broadway Gallery, and "Freedom," a National Justice Museum Open Call selection, all in the UK. He also exhibited his work at the Nottingham Trent Photography Degree Show in 2020 and the Nottingham Trent 'Pin Up' Show in 2018. His written work has been featured in publications such as Pupil Sphere, Issue. 07, and he has also written on topics related to photography, including "The Discourse, Power and Visuality of Veillance" and "A Contemplation of Representation and Self."
In addition to his previous works he has received numerous accolades, including being selected to participate in the International Arts Collective's "Off RCA" exhibition at the Arles Photo Festival in France in 2023. He is also set to showcase his work at the Royal College of Art Degree Show at the Truman Brewery in the UK, as well as at the "Off Print" exhibition at the Tate Modern, also in the UK.
His current work ‘Malerschwein’ explores the impact of pervasive patriarchy on our ability to love and be loved. As a white, western, masculine person, he acknowledges that he and others have been shaped by a poisoning patriarchy and must understand it in order to let go of it. He cynically leans into its toxic effects of pride and entitlement associated with stoic heteronormative leadership, which can lead to feelings of hate and self-destruction. Leonowicz's work reflects on the conflict of remaining strong, isolated, and always in control, which is a feature of hegemonic masculinity. Seeking to question the structures and individuals affected by patriarchy's double-sided blade. To be strong and independent shares a very close space to being lonely: that I should always be able enough even if sometimes I'm not and my heart says otherwise, that I could never ask for help.
His interests involve unpacking patriarchal masculinity and the toxic ideologies that drive it, such as the Manosphere and figures like Andrew Tate.
Leonowicz has chosen collaboration as his primary focus in his work as community through materiality build upon his own practice and empathy within it. He seeks collaboration as an antidote to this patriarchal toxicity, recognizing the importance of vulnerability and empathy in countering isolation and hate that Feminist theory teaches.
Malerschwein
Helm
White Male — Hands are cocked back, arms rest on the hips via the wrists. Contemplative, tired, and observing. Located upon a relic of Industrial machinery, in a landscape reclaimed by mother nature I stand. I am this White Male and there are parts of me that is dissatisfied for what is to come, for that horizon I see strips me.
My Scanner and I — Sometimes I like to kiss cameras, I adore the things that see me.
Father in Study — My father sits in his office space. He is entrenched in the space, surrounded by images and office stationery. He is fully settled into his corner, his domain.
Cradle — Blythe cradles her scanner, a scanner that maps a physical space which creates a virtual environment. Like me she has a close, caring relationship with the camera she uses. Unlike me she nurtures it, loves it.
Untitled — Cameras back to back. Both of us facing them, two duos ready to dance: machine and escort.
Vanessa and Mark — My mother and stepfather sit in their back garden shed. They both peer at scoured cleaned windows. Invisibly and happily watching the world go by.
Two wrestlers
Miles. — Miles stands, happily in that corner. For that wooden shed contains all his treasures.
Self Portrait - Fencer — I stand in another's garden. A white cladded affront to you who sees me. Sword in hand and mask adorned yet my feet miss shoes and are bare showing my long shinned socks.
Untitled — Samson Slaying a Philistine
Scrum — We embrace, mirroring touch and stance. Yet I am tied at the waist with you gripping a crow bar.
Untitled — You've let me hold you via the waist. Yet you are upside down and I stand the right way up!
I and Abodid.
Abodid and I.
City Self portrait — I stand amidst a landscape of flats, rooftops and streets. I am small in the frame and within the environment. Even with my distance and you high above I like to think that I can't be seen
Jamie in his living room — Isolated by black, this image takes the form of a contact print.
Jamie sits with his large and small cut-outs of Freddie Mercury. Happily he also wears Freddie's jacket which he sings and dances in.
Nude Self-Portrait Contact Print — Isolated by black, this image takes the form of a contact print.
A self-portrait where I stand naked in the garden. While exposed I am vulnerable, I still feel the need to cover myself.
Miles searching in pub cellar — Miles searches. He has climbed down to the cellar of a derelict pub where he hopes to scavenge and find some parts to take home with him.
Miles showing his find — After searching Miles inspects his finds. Here, he is showing me one of the pipes he proudly found.
White maze on wall — A White Maze on dry brick wall. A suburban canvas for which I have been brought up in but exists on its exterior. Patriarchy that is pervasive castrates a sense of self, reducing to an affront - a rigid and abrasive maze.
In my Garden — She is located deeper within, small but most significant. In this garden of Gethsemane I have betrayed her.
Medium: Black & White Film + Silver Gelatin Contact Prints
