Podcast Summary: All Of It with Alison Stewart Episode: How Brooklyn-based Artist Leonardo Drew Works With Paper Pulp Date: March 18, 2026
Episode Overview
In this episode, Alison Stewart sits down with Brooklyn-based artist Leonardo Drew to discuss his latest exhibitions and innovative work with handmade paper pulp. The conversation explores Drew’s creative process, the transformative potential of materials, the impact of travel on his artistic vision, and insights from his lifelong journey as an artist. Throughout, listeners get an engaging, in-depth look at Drew's philosophies, influences, and the practical realities of his unique sculptural practice.
Key Discussion Points & Insights
1. Leonardo Drew’s New Exhibitions
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Pace Prints Show in Chelsea ("Tattered Quilts")
- Opens March 19, features Drew’s new handmade paper pulp works.
- Drew explains that these pieces, created over the last year, are the result of 15 years of innovation with master printmakers at Pace Prints.
- The work pushes the boundaries of what can be achieved with paper pulp, achieving a sculptural quality that often surprises collectors.
- “Anyone that buys these things, they always think they’re getting the real thing, like an actual sculpture. But it’s paper pulp.” (Leonardo Drew, 02:47)
- Drew encourages viewers not to be limited by labels or titles such as “Tattered Quilts.”
- “So telling everyone that it's like tattered quilts. It's like, let's erase that right now.” (Leonardo Drew, 05:13)
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Bruce Museum in Greenwich: "Alchemy"
- Currently on view and running through May 10, the exhibition displays over two decades of Drew’s innovations with paper.
- The title, "Alchemy," reflects Drew’s experimental, almost magical approach to transformation and materials in the studio.
- “Alchemy. ... I am that in the studio, so they gave it that title. But it is, you know, it's definitely well deserved.” (Leonardo Drew, 11:26)
2. Working with Paper Pulp
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Material & Process
- Paper pulp is described as “mushed paper” that can be molded and shaped into visually complex forms.
- Drew finds the material forgiving and physically less taxing than traditional sculpture, which has taken a toll on his body after years of heavy studio work.
- “It's forgiving and, like, the kind of wear and tear on your body.” (Leonardo Drew, 03:40)
- “I look like an MMA fighter, you know? So I’m ready. I’m strapped for action. You know what I’m saying? … It's a war in the studio.” (Leonardo Drew, 04:01)
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Breaking Boundaries
- Drew’s collaboration with Pace Prints bridges the gap between printmaking, sculpture, and painting, offering the visual impact of sculpture at the price point of prints.
- “When you talk in terms of being able to get a visual and a feel of a sculpture and have the price point of a print… we’ve added something to the language of printmaking.” (Leonardo Drew, 06:10)
- Drew’s collaboration with Pace Prints bridges the gap between printmaking, sculpture, and painting, offering the visual impact of sculpture at the price point of prints.
3. The Role of Color and Influence of Travel
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Color as a New Element
- Color is a relatively recent addition to Drew’s work, inspired by his time working with porcelain in Jingdezhen, China.
- Previously, his art was primarily monochrome; travel has greatly expanded his color palette.
- “Color actually is sort of a new sort of entry into what I do… So color is now a part of how I see things.” (Leonardo Drew, 07:38)
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Global Inspiration
- Drew draws significant energy and ideas from visiting “cradles of civilization” like China, Peru, Senegal, and Egypt.
- “The idea that you can be become a receiver of information, an antenna… all these, you know… cradles of civilization, they will feed you through your pores, through your eyes.” (Leonardo Drew, 08:49)
- “Your body vibrates for a reason when you’re in these places.” (Leonardo Drew, 10:36)
- Drew draws significant energy and ideas from visiting “cradles of civilization” like China, Peru, Senegal, and Egypt.
4. Upbringing, Mentors, and Becoming an Artist
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Early Artistic Drive
- Raised in the projects of Bridgeport, Connecticut, Drew recalls his innate compulsion to create and early mentorships that propelled him forward.
- “You're born an artist… I’ve been at this all my life. So I've been pretty much almost an addict at making things.” (Leonardo Drew, 12:49)
- “I started exhibiting at 13 because of them. … No, you need mentors, people who are around you and actually feed you materials and actually give you ideas…” (Leonardo Drew, 14:25)
- Raised in the projects of Bridgeport, Connecticut, Drew recalls his innate compulsion to create and early mentorships that propelled him forward.
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Parental Concerns & Defying Expectations
- Drew’s mother tried to steer him away from art for practical reasons, worrying it wasn’t a safe or secure path.
- “If you're growing up in the hood and you’re… thinking about, or at least she’s thinking about a future, the arts—no, I mean, I don’t think for any sane person you would think the arts would be a safe place to… hedge your bet.” (Leonardo Drew, 13:56)
- Drew’s mother tried to steer him away from art for practical reasons, worrying it wasn’t a safe or secure path.
5. Turning Points: From Drawing to Sculpture
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Choosing Sculpture Over Comics
- Early interest from DC and Marvel Comics was overruled by Drew’s exposure to Jackson Pollock, which fundamentally changed his artistic direction.
- “I had seen Jackson Pollock’s work and from there it’s like took the top of my head off… There are things that are holding you back that are crutches… I was going to have to make a sacrifice. And that meant, you know, tie your hands now. Figure out how to create, you know, not using all those things that were your strengths.” (Leonardo Drew, 15:35)
- Early interest from DC and Marvel Comics was overruled by Drew’s exposure to Jackson Pollock, which fundamentally changed his artistic direction.
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The Power of Influence
- Seeing Pollock’s work, even in black and white, was a key moment.
- “Even in black and white, Jackson Pollock was powerful. So that should say something about what’s the essence of what he was doing.” (Leonardo Drew, 17:21)
- Seeing Pollock’s work, even in black and white, was a key moment.
6. Life as a Working Artist: Studios, Rituals, and Process
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Brooklyn vs. San Antonio Studios
- Drew maintains studios in both Brooklyn and San Antonio.
- The San Antonio studio provides peace, solitude, and clarity, serving as a space for introspection, while Brooklyn offers energy and community.
- “In San Antonio, you can see the skies. … It’s a small ranch and I’m just out there by myself… a moment to sort of… be introspective, you know. And clarity is probably the biggest gift in all this.” (Leonardo Drew, 18:31)
- “Brooklyn… is this constant drumbeat, you know.” (Leonardo Drew, 19:39)
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Studio Practice
- Drew’s ritual is simple: he wakes up and goes straight to the studio, often juggling seven concurrent projects (“seven crying babies”).
- “I just get up and I go downstairs, I go to work, you know, that’s the ritual. … I have, like, usually rotating, like, seven things in the studio. I call them seven crying babies.” (Leonardo Drew, 20:24)
- “You have to kind of bounce around and feed each one and they influence each.” (Leonardo Drew, 21:11)
- Drew’s ritual is simple: he wakes up and goes straight to the studio, often juggling seven concurrent projects (“seven crying babies”).
7. Looking Forward
- Reflections on Longevity and Purpose
- With over 50 years in art, Drew remains excited about new experiences and the impact his work may have on others.
- “What can I be? I’ve been exhibiting for 13 years… But it's great to be able to go in and actually know that someone's coming in and they're gonna introduce you… you'd be somebody's Jackson Pollock.” (Leonardo Drew, 21:27; 22:03)
- With over 50 years in art, Drew remains excited about new experiences and the impact his work may have on others.
Notable Quotes & Memorable Moments
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“I look like an MMA fighter, you know, so I'm ready. I'm strapped for action… It's a war in the studio.”
— Leonardo Drew, 04:01 -
“I am from the womb to now… I've been pretty much almost an addict at making things.”
— Leonardo Drew, 12:49 -
“You need mentors… people who are around you and actually feed you materials and actually give you ideas… your life can be this.”
— Leonardo Drew, 14:25 -
“I had seen Jackson Pollock's work and from there it's like took the top of my head off… If I was going to get to that door… I was going to have to make a sacrifice.”
— Leonardo Drew, 15:35 -
“You have to… bounce around and feed each [project] and they influence each. So this is constant, absolute constant of like, I need you, I need you, I need you.”
— Leonardo Drew, 21:11
Timestamps for Key Segments
- 01:30 — Episode and guest introduction
- 02:31 — How handmade paper pulp works are made and evolved
- 03:37 — On the physical demands of sculpture and paper pulp as medium
- 04:25 — "Tattered Quilts" and the danger of labels
- 05:39 — The 3-dimensionality of his paper pieces; breaking barriers between print and sculpture
- 07:38 — Introduction of color into his work and influence of Jingdezhen, China
- 08:49 — The impact of global travel on Drew’s practice and philosophy
- 11:26 — Origins of the "Alchemy" exhibition at the Bruce Museum
- 12:49 — How Drew became an artist and the vital role of mentors
- 15:31 — Why he stopped drawing and the impact of discovering Jackson Pollock
- 18:24 — On maintaining two studios (Brooklyn and San Antonio)
- 20:24 — Daily rituals and the metaphor of “seven crying babies”
- 21:27 — Anticipation for the exhibition opening and hopes for artistic impact
Final Thoughts
This episode offers a rich, personal exploration of Leonardo Drew’s creative journey, highlighting the intersections of material innovation, global influence, personal history, and the rigors and rituals of a dedicated studio practice. Drew’s energy, humility, and openness provide inspiration not only for artists but for anyone engaged with creative discovery.