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Lenox

A Revolutionary Design. A New Look for Legion's New Artist Pads.

Art is about connections. Between structure and the whole, ideas and the viewer, the medium and the maker. No matter what the piece of art, all of its elements must work together. Everything must be connected.

At Legion, our art is paper. And now we are proud to announce our new redesign, a bold disruptive look that takes three of our papers, new and old, and connects them so you know that you are getting the quality, consistency and substance you demand for your art.

It was time to break tradition. To create something the market had never touched upon. The design-savvy covers strip away the clutter of conventional pad covers, using a varnish text against a solid background color to capture the attention of the artist without being intrusive. Designed for the artist’s eye, the clean, bold type tells you the paper, a beautiful gloss overlay paints an ephemeral verbal picture of exactly what that paper can do.

Orange on purple? That’s Stonehenge Light. Red on orange? That’s Yupo Medium. And so on and so forth. The papers haven’t changed, we’ve just made it easier for you to find them on the shelf and given them a look you'd be proud to leave out in your studio or on your coffee table.

Together, all these covers will connect all of our brands under an umbrella that any novice can recognize and any artist can appreciate. And connections are what it’s all about.

We are Legion. We are paper.

Paper Cut Artist, Tahiti Pehrson, Uses Lenox 100

Tahiti Pehrson is a Northern Californian artist that creates large scale installations of geometrical hand cut papers layered into three-dimensional structures using Lenox 100

How did you get into hand cut paper installations? Where does your inspiration come from?

I started out as a painter on flat surfaces trying to create three dimensional effects, so at a certain point it just made sense to move directly into three dimensions. At the same time I had given up on art school and painting more on the streets. That lead to a practice of stencil making and it sort of evolved from there. 

These days Inspiration comes from all over the place. Recently I have been using different materials such as wood and cement to make forms and then re-making those shapes in the paper works. 

Is there anything specific about Lenox that draws you in? Does the paper enhance your work? 

Yeah, it’s really the only paper I have ever used. The weight works really well for what I do, it holds the detail while keeping a structural rigidity. The 60’ and 72’ rolls enable me to work in the large scale that I need for big spaces. 

What other papers have you used for your work?

I really never have. I have run out a few times and had to substitute. I’m a creature of habit

I need my conditions to be uniform and I know what the 100 feels like. Some of my first framed pieces look exactly the same ten, fifteen years later, So I trust it. I could see different weights creating more possibilities, so maybe that’s something to explore.

What kind of characteristics do you look for in paper? 

I like a little less texture, just enough to absorb light. I really like the Cotton. People always remark on the way it feels. When you invest so much time in a piece you want it to be made of materials that can trust. Otherwise there is some uncertainty there. As far as color the Lenox 100 is a pretty true white with just a little warmth in a room. That is exactly what I need.

Do you have any upcoming shows?

I’m working on  a show for the Joseph Gross Gallery in N.Y. that opens September 10th.

I just finished a large scale install for Facebook’s permanent collection.

Work can also be seen at K.Imperial Gallery in San Francisco and at Salon 91 in Capetown, South Africa.

One last project, I’m working with RVCA right now on a capsule collection of Women's clothing based on the paper cut work. RVCA will translate the original hand-cut pieces into transparent, laser-cut and burn out materials. So that will be out in Spring of 2016. Check it out.