In a Second of Seriousity

Leslie William LePere was a uncommon golden soul. He was 24 karat. He was grade “A.” He had a strong #2 lead spirit, woven with originality, wit, and pure magic.

Leslie W. LePere, Lead Pencil, Professor Pencil, image courtesy of the estate of LWL — Leslie W. LePere, *Lead Pencil, Professor Pencil,* picture courtesy of the property of LWL

Pencil Brothers, Eight, 1974, wall frame in champlevé on copper, ink and pencil, 4 x 4 x ¾ inches (10.2 x 10.2 x 1.9 cm), image courtesy of the estate of LWL — Pencil Brothers, *Eight,* 1974, wall body in champlevé on copper, ink and pencil, 4 x 4 x ¾ inches (10.2 x 10.2 x 1.9 cm), picture courtesy of the property of LWL

One of many nice inventive forces of his time, Les left behind a legacy that runs deep within the soils of jap Washington and spreads far past—by means of illustrations, enamel works, friendships, and the numerous folks he impressed. On August 1, 2024, Les handed away peacefully in his sleep after a collection of well being points. He was 78.

Leslie W. LePere, Train of Thought Points to Portrait, 1979, ink and colored pencil on paper, image courtesy of the estate of LWL — Leslie W. LePere, *Prepare of Thought Factors to Portrait,* 1979, ink and coloured pencil on paper, picture courtesy of the property of LWL

In his personal phrases, Les “was a wheat farmer with an artwork behavior” and a person who saved loads of hats on his hat rack: wheat farmer, pencil wrangler, tractor mechanic, mustard connoisseur, Airedale lover, culinary wizard, observant European voyager, shade swatch fanatic, gearhead, and puzzle grasp, to call a couple of. Most significantly, he was a brother, uncle, instructor, artist, and trusted buddy.

Leslie W. LePere, Close Shave, 1981, ink and watercolor, private collection, image courtesy of the estate of LWL — Leslie W. LePere, *Shut Shave,* 1981, ink and watercolor, non-public assortment, picture courtesy of the property of LWL

Les has left an enduring visible influence by means of the course of his wealthy and spirited profession. Metalsmiths and lovers of latest enameling might acknowledge his illustrations from the poignant and symbolically wealthy work of the Pencil Brothers, a collaboration between Les and his inventive soulmate, Ken Cory. Their champlevé enamels and illustrations have impressed many enamelists—Marissa Saneholtz, Zachery Lechtenberg, and Laura Fortune, to call only a few. And Les’s latest reconnection to the metalsmithing world impressed vibrant illustrated bulletins for occasions like Smitten Discussion board, Yuma Artwork Symposium, ECU Materials Subjects Symposium, and The Bench Symposium, in Santa Fe.

Pencil Brothers, Pencilvania, 1975, pin in champlevė enamel on bronze, private collection, image courtesy of the estate of LWL — Pencil Brothers, *Pencilvania,* 1975, pin in champlevė enamel on bronze, non-public assortment, picture courtesy of the property of LWL

Leslie W. LePere, What A Show!, 2019, colored pencil and ink on paper, image courtesy of the estate of LWL. Poster produced for the Yuma Art Symposium’s 40th Anniversary, edition of 100. — Leslie W. LePere, *What A Present!,* 2019, coloured pencil and ink on paper, picture courtesy of the property of LWL. Poster produced for the Yuma Artwork Symposium’s fortieth Anniversary, version of 100.

In the event you’re a bookworm, Les’s illustrations might have danced in your head. Most notably, the legendary Nonetheless Life With Woodpecker e-book jacket is widely known and celebrated by Tom Robbins followers all over the world.

Leslie W. LePere, Still Life with Woodpecker, 1980, acrylic paint and ink on paper, 15 x 11 inches (38.1 x 27.9 cm), image courtesy of the estate of LWL — Leslie W. LePere, *Nonetheless Life with Woodpecker,* 1980, acrylic paint and ink on paper, 15 x 11 inches (38.1 x 27.9 cm), picture courtesy of the property of LWL

Or you might put on work from Sandy Parr, a collaboration between Les and his good buddy and enterprise accomplice, Charlie King. Their distinctly intricate hard-fired champlevé enamel lapel pins, golf-ball markers, and belt buckles (with backs simply as attention-grabbing because the fronts!) spotlight the representational narrative for a lot of shoppers’ anniversaries, fundraisers, non-profit organizations, golf golf equipment, and ski resorts. They’re extremely revered by recipients across the nation.

Leslie W. LePere & Charlie King, Sandy Parr, 2001, brand in ink and coloured pencil on paper, 2 ½ x 6 ½ inches (6.4 x 16.5 cm), picture courtesy of Sandy Parr

Collection of Sandy Parr pins and golf ball markers designed by Les Lepere and Charlie King and produced at one of the last hard-fired enamel factories in the world. Usually they would make an edition of 100 or 250 for clients. Charlie King was a former student of Ken Cory’s. Charlie was like family to Les, and their creative relationship was strong until his last days. — Assortment of Sandy Parr pins and golf ball markers designed by Les Lepere and Charlie King and produced at one of many final hard-fired enamel factories on the planet. Often they’d make an version of 100 or 250 for shoppers. Charlie King was a former pupil of Ken Cory’s. Charlie was like household to Les, and their inventive relationship was robust till his final days.

And for those who grew up within the Northwestern United States, chances are high you’ve seen regional ads dropped at life by his electrical illustration fashion. Les was the inventive pressure behind many celebrated regional works together with his iconic 1973 poster for the Bumbershoot Competition held in Seattle, or more moderen logos for The Submit & Workplace or Electrical Lodge in Harrington, WA. However his graphic portfolio varies broadly, with many logos, packaging designs, bulletins, and posters leaving an impression on each people and companies nationally.

Leslie W. LePere, Bumbershoot, 1973, poster in ink and colored pencil on paper, 23 ½ x 18 inches (59.7 x 45.7 cm), image courtesy of the estate of LWL — Leslie W. LePere, *Bumbershoot,* 1973, poster in ink and coloured pencil on paper, 23 ½ x 18 inches (59.7 x 45.7 cm), picture courtesy of the property of LWL

Leslie W. LePere, Post & Office, 2018, colored pencil and ink on paper, image courtesy of the estate of LWL — Leslie W. LePere, *Submit & Workplace,* 2018, coloured pencil and ink on paper, picture courtesy of the property of LWL

I first met Les within the registration line on the 2015 Yuma Artwork Symposium, in Arizona. He was a twister of power and zest! Each dialog with him sparkled with knowledge and wit. I had admired his work for years. One in every of my metals mentors, the late Nancy Worden, had launched me to the e-book Play Disguised: The Jewellery of Ken Cory, which Les and Worden created collectively to honor their mutual buddy and inventive collaborator. (In the event you haven’t seen this e-book, go discover it! It doesn’t disappoint.)

Leslie W. LePere, book fronticepiece from Play Disguised: The Jewelry of Ken Cory, 1997, colored pencil and ink on paper, image courtesy of the estate of LWL. The book was published in tandem with an exhibition of the artist’s work at Tacoma Art Museum in 1997. — Leslie W. LePere, e-book frontispiece from *Play Disguised: The Jewellery of Ken Cory,* 1997, coloured pencil and ink on paper, picture courtesy of the property of LWL. The e-book was printed in tandem with an exhibition of the artist’s work at Tacoma Artwork Museum in 1997.

The Pencil Brothers part of the e-book captivated me. I’d sit for hours poring over the illustrations, discovering all of the small particulars, clever whimsy, and symbolism baked into each inch of Les’s drawings and the collaborative champlevé enameled frames.

Pencil Brothers, Skunk, 1974, wall piece in champlevé enamel on copper with ink and pencil on paper, 4 x 4 x ¾ inches (10.2 x 10.2 x 1.9 cm), image courtesy of the estate of LWL — Pencil Brothers, *Skunk,* 1974, wall piece in champlevé enamel on copper with ink and pencil on paper, 4 x 4 x ¾ inches (10.2 x 10.2 x 1.9 cm), picture courtesy of the property of LWL

Pencil Brothers, Match, 1974, ashtray in champlevé enamel on copper, image courtesy of the estate of LWL — Pencil Brothers, *Match,* 1974, ashtray in champlevé enamel on copper, picture courtesy of the property of LWL

We bought to be nice associates over the following few years, speaking each few days. I’d typically giggle with delight after I heard his voice on the cellphone. Les had a sure aptitude when talking, drizzling in quirky conversational additions, just like the “evers”: everwho, everwhat, everwhen, everhow. He referred to as the pc the “confuser,” because it typically left one in a state of confusion. “It absolutely would, Shirley!” And in a “second of seriousity” it was a “lead-pipe cinch” to name Les a buddy.

Les’s backyard at the LePere family farmhouse, which overlooked the wheat fields and windmill, photo courtesy of Autumn Brown. The windmill was a favorite place for Les and his dogs. Some of his ashes have been scattered there. — Les’s yard on the LePere household farmhouse, which missed the wheat fields and windmill, picture courtesy of Autumn Brown. The windmill was a favourite place for Les and his canine. A few of his ashes have been scattered there.

Pencil Brothers, Five,1986, pin in champlevé enamel on copper, image courtesy of the estate of LWL. The number five was of great significance to the Pencil Brothers and had its roots in the PBoys interest in the ancient Chinese text, the I Ching. Many Pencil Brothers designs display a use of four foundational corners and a central element, which represented earth, air, fire, water, and self. — Pencil Brothers, 5, 1986, pin in champlevé enamel on copper, picture courtesy of the property of LWL. The quantity 5 was of nice significance to the Pencil Brothers and had its roots within the PBoys curiosity within the historical Chinese language textual content, the I Ching. Many Pencil Brothers designs show a use of 4 foundational corners and a central factor, which represented earth, air, hearth, water, and self.

Different quips commonly heard from him: “You possibly can lead a horse to water, however a pencil should be lead,” “It’s about as attention-grabbing as a spud sandwich,” and “Don’t neglect, there may be ‘artwork’ in the course of ‘earth.’” He would typically finish his letters with the closing “Pencillistically.”

Pencil Brothers, Frame, 1974, switchplate cover in champlevé enamel on copper, 4 ½ x 2 ¾ x ½ inches (11.4 x 7 x 1.3 cm), image courtesy of the estate of LWL — Pencil Brothers, *Body,* 1974, switchplate cowl in champlevé enamel on copper, 4 ½ x 2 ¾ x ½ inches (11.4 x 7 x 1.3 cm), picture courtesy of the property of LWL

Pencil Brothers, Stick, 1974, switchplate cover in champlevé enamel on copper, 4 ½ x 2 ¾ x ½ inches (11.4 x 7 x 1.3 cm), image courtesy of the estate of LWL — Pencil Brothers, *Stick,* 1974, switchplate cowl in champlevé enamel on copper, 4 ½ x 2 ¾ x ½ inches (11.4 x 7 x 1.3 cm), picture courtesy of the property of LWL

I beloved to listen to his recollection of dashing by means of the rain at Puget Sound to ship the unique acrylic portray for Nonetheless Life with Woodpecker. As he ran, an enormous pileated woodpecker swooped down in entrance of him—the very chicken featured within the portray beneath his arm! Les believed in indicators like that and within the puzzles the universe laid out for us in life and in artwork. After he handed, I discovered a lacking puzzle piece on my lounge ground—one I assumed he had stolen as a prank years in the past! I couldn’t assist however smile.

Leslie W. LePere, Saw, File & Solder, 2016, ink and colored pencil, image courtesy of the estate of LWL. Les made a set of three National Saw, File & Solder Sprint trophies for the 2016 Yuma Art Symposium. This image was presented in a shadow box frame with dice that rattled around inside like a game, not unlike the game of skill and chance the race participants were entering. The main image depicts master metalsmith Robert (Bob) Ebendorf at his bench. Les and Bob became creative besties during Les’s last years. This friendship is likely referenced with the presence of an upside down “5,” an “alternate” to Les’s best friend and creative soulmate, metalsmith Ken Cory, who was often represented by that number. — Leslie W. LePere, *Noticed, File & Solder,* 2016, ink and coloured pencil, picture courtesy of the property of LWL. Les made a set of three Nationwide Noticed, File & Solder Dash trophies for the 2016 Yuma Artwork Symposium. This picture was offered in a shadow field body with cube that rattled round inside like a recreation, not in contrast to the sport of ability and likelihood the race individuals have been getting into. The principle picture depicts grasp metalsmith Robert (Bob) Ebendorf at his bench. Les and Bob turned inventive besties throughout Les’s final years. This friendship is probably going referenced with the presence of an the wrong way up “5,” an “alternate” to Les’s greatest buddy and inventive soulmate, metalsmith Ken Cory, who was typically represented by that quantity.

Les was born in Spokane, WA, US, and raised in a wheat-farming group in close by Harrington. From a younger age his mother inspired him to be creative, at all times supplying coloured pencils and crayons for him and his sister, Louise. However he had just one artwork class earlier than faculty, by which he made a pair of enameled cufflinks.

Leslie W LePere, America on the Move, Train, 1971, ink and colored pencil, 4 x 7 inches (10.2 x 17.8 cm), image courtesy of the estate of LWL — Leslie W LePere, *America on the Transfer, Prepare,* 1971, ink and coloured pencil, 4 x 7 inches (10.2 x 17.8 cm), picture courtesy of the property of LWL

View of the LePere family farm, or “Pencil Farm,” May 2017, photo courtesy of Autumn Brown — View of the LePere household farm, or “Pencil Farm,” Could 2017, picture courtesy of Autumn Brown

Les enrolled in structure courses at Washington State College. Attributable to a nasty ruler and a stiff surroundings, he struggled in his architectural drawing class and rapidly turned annoyed. The cookie cutter ideology and design strategies have been about as attention-grabbing as a spud sandwich to younger Leslie.

Upset and confused, he appeared to his sister for recommendation. Louise Kodis, now a well known textiles artist residing in Spokane, inspired him to vary course and take some artwork courses. So Les signed up, and the brand new route supplied him with the supportive surroundings he wanted. His instructors praised his inexactitude. His individuality was nurtured and even inspired.

After undergraduate, Leslie utilized to, and was accepted by, College of Washington, Pratt, and WSU for graduate faculty. He selected to stay at WSU to make the most of a instructing scholarship.

In 1966, throughout a summer season ceramics class, Les discovered one of many biggest adventures in his life, his friendship with a long-haired metalsmith named Ken Cory. They bonded over the creation of a Jungian jug, automotive tradition, and a fond distaste for the present artwork faculty taste: summary expressionism. Cory could be Les’s greatest buddy and collaborator for a few years, till his premature loss of life in 1994.

(Left) Les LePere and (right) Ken Cory, the Pencil Brothers, with their handmade boat at a regatta sometime in the 1970s, image courtesy of the estate of LWL — (Left) Les LePere and (proper) Ken Cory, the Pencil Brothers, with their handmade boat at a regatta someday within the Nineteen Seventies, picture courtesy of the property of LWL

Throughout their time at WSU they rebelled towards summary expressionism. In a lecture, Les later recalled, “We beloved objects and issues … so we reacted by being the other of huge, colourful, and summary. Our work was small, detailed, and consultant.” All of which the institution frowned on. To harass their instructors even additional, they produced their paintings as a collaboration.

They typically picnicked within the woods with their cameras, sketchbooks, and jackknives to create sculptures out of sticks, assemble seaside pebbles into portraits, adorn earth mounds with tiles. They even modeled one another’s likeness into sterling silver salt and pepper shakers. “Academics at WSU have been flabbergasted!” Les instructed me. “Musicians jammed collectively and so did we. We loved our time collectively in inventive exploration, not pandering to the museums and exhibits.”

Pencil Brothers salt and pepper shakers, cast sterling silver, collection of the estate of LWL, photo courtesy of Autumn Brown — Pencil Brothers salt and pepper shakers, forged sterling silver, assortment of the property of LWL, picture courtesy of Autumn Brown

After commencement from WSU Les moved to Seattle to show at a personal faculty and started doing native graphics work, signing his identify as “Pencil.” He and Cory continued their inventive relationship on weekend visits.

Pencil Brothers, Train, 1971, wall piece in chrome-plated brass, enamel copper, glass, colored pencil drawing, 4 ¼ x 3 ½ x ½ inches (10.8 x 8.9 x 1.3 cm), image courtesy of the estate of LWL — Pencil Brothers, *Prepare,* 1971, wall piece in chrome-plated brass, enamel copper, glass, coloured pencil drawing, 4 ¼ x 3 ½ x ½ inches (10.8 x 8.9 x 1.3 cm), picture courtesy of the property of LWL

Pencil Brothers at the train station in Ellensburg, mid 1970s, image courtesy of the estate of LWL — Pencil Brothers on the practice station in Ellensburg, mid Nineteen Seventies, picture courtesy of the property of LWL

Les would take the practice to Ellensberg to see Cory they usually jammed within the studio—illustrating on asphaltum with a manipulated ruling pen and etching down copper with ferric chloride “that will burn the hair off a hog at 50 ft!” He laughed when he instructed my college students that, after which promptly reminded everybody to make use of a vent! He recounted touring again to Seattle with no fingerprints due to the abrasive nature of the stoning course of.

Once they couldn’t meet in individual, they used USPS. Typically Cory mailed a steel body to Les, who would then match it to an illustration, often 4 x 4 inches (10.2 x 10.2 cm) in coloured pencils and ink. Different occasions, Les mailed an illustration to Cory, who matched it with a body. This occurred with the works Camel, Blimp, and Prepare.

Pencil Brothers, Camel, 1971, wall piece in champlevé on copper, glass, and colored pencil drawing, 4 x 4 x ¼ inches (10.2 x 10.2 x 0.6 cm), collection of the estate of LWL — Pencil Brothers, *Camel,* 1971, wall piece in champlevé on copper, glass, and coloured pencil drawing, 4 x 4 x ¼ inches (10.2 x 10.2 x 0.6 cm), assortment of the property of LWL

Pencil Brothers, Blimp, 1971, wall piece in enamel on copper with Plexiglas, colored pencil and ink, 4 x 4 x 1 inches (10.2 x 10.2 x 2.5 cm), Collection of the MFA Houston, image courtesy of the estate of LWL — Pencil Brothers, *Blimp,* 1971, wall piece in enamel on copper with Plexiglas, coloured pencil and ink, 4 x 4 x 1 inches (10.2 x 10.2 x 2.5 cm), Assortment of the MFA Houston, picture courtesy of the property of LWL

They started signing their work as “Artwork Workforce” however discovered it “educational, boring, and dry!” Les typically joyfully recalled the day he and Ken have been reveling within the magnificence and ability the automotive trade employed to create the hard-fired enamel Dodge Brothers radiator cap that Cory had discovered at a junk retailer.

Cory mentioned, “Have a look at this emblem, LePere. Perhaps we needs to be the Pencil Brothers. You will be Lead, I will be Pink. Higher Pink than Lead!” Les spoke of his buddy typically, and with nice reverence. Their collaborative works will be discovered in lots of museums across the nation, together with the Racine Artwork Museum, the Museum of Wonderful Arts, Boston, the Museum of Wonderful Arts, Houston, Tacoma Artwork Museum, and Los Angeles County Museum of Artwork, amongst others. Their work has lit the inventive torch for a complete era of metalsmiths and enamelists.

Embroidered Pencil Brothers emblem, collection of the estate of LWL, photo courtesy of Autumn Brown — Embroidered Pencil Brothers emblem, assortment of the property of LWL, picture courtesy of Autumn Brown

In 2018, Les visited my college students at Western Michigan College. We spent months planning out his go to. The Pencil Brothers, representational imagery, and adorning purposeful objects to convey a story had ignited our fuse.

Les LePere installing artwork in a showcase during a visit to Western Michigan University,photo courtesy of Autumn Brown — Les LePere putting in paintings in a showcase throughout a go to to Western Michigan College,picture courtesy of Autumn Brown

Les needed to present them a framework, however depart them inventive selection and a spot to make their very own path. Utilizing his personal graduate faculty object drawings as a base for exploration, college students used decals with liquid enamel to adorn gentle change plates for his or her properties. They have been “shedding gentle” on the method of enameling, Les mentioned. Past enamel, the 3-D design class used his drawings to encourage life-size sewn objects, and the superior metals college students created Pencil Brothers–impressed champlevé enamel frames depicting their private narratives.

For his graduate thesis from Washington State University, Leslie drew portraits of objects he considered important in life. Each object was presented within an ornamental vignette inside an old yearbook from 1882. Collection of the estate of LWL, photo courtesy of Autumn Brown — For his graduate thesis from Washington State College, Leslie drew portraits of objects he thought-about vital in life. Every object was offered inside a decorative vignette inside an previous yearbook from 1882. Assortment of the property of LWL, picture courtesy of Autumn Brown

Les was a superb teacher. He instructed my college students how he as soon as tried a brand new texture experiment with India ink and it went dreadfully mistaken. He might have thrown his pencils throughout the room however as an alternative designed his approach out of it. “One factor we’ll at all times take care of in life is fixing one thing we break. You will want to course right or regulate in your mistake. All the time depart your self an out! Be capable of keep away from and divert.”

Leslie introducing an enameling project to the students at Western Michigan University’s Frostic School of Art in March 2018, photo courtesy of Autumn Brown. Students used his graduate thesis object drawings to decorate a wall switch plate that depicted their own personal narrative. — Leslie introducing an enameling challenge to the scholars at Western Michigan College’s Frostic College of Artwork in March 2018, picture courtesy of Autumn Brown. College students used his graduate thesis object drawings to embellish a wall change plate that depicted their very own private narrative.

Leslie’s lecture notes for students at Western Michigan University, photo courtesy of Autumn Brown. The intro lecture gave detailed background on the Pencil Brothers and their philosophy on creating using enamel. — Leslie’s lecture notes for college students at Western Michigan College, picture courtesy of Autumn Brown. The intro lecture gave detailed background on the Pencil Brothers and their philosophy on creating utilizing enamel.

He believed within the magic of collaboration, and the way collective curiosity solid new paths and matured efforts in each initiatives and friendships. He believed in making time to review, researching your pursuits, and most of all, permitting your self time to play. “Curiosity didn’t kill the cat! Cats love curiosity, it retains them alive!” he mentioned. “The sense of play is the spine of great work. The unknown and mysterious time with your self coloring can open doorways beforehand unknown to you. Permit your self the time to go searching and uncover that you simply would possibly simply have what you want proper in entrance of you. All is truthful in love and artwork. Make it. Do it. Don’t cease.”

Leslie LePere, Transition, 2016, wristwatch, India ink and watercolors, 1 ½ x ⅜ inches (3.8 x 1 cm), photo courtesy of Autumn Brown. Les produced this watch for the ZOOM Symposium exhibition “In Transit,” which featured work about transition. He said, “Time is always in transition and will be more so when ‘In Transit.’” — Leslie LePere, *Transition,* 2016, wristwatch, India ink and watercolors, 1 ½ x ⅜ inches (3.8 x 1 cm), picture courtesy of Autumn Brown. Les produced this look ahead to the ZOOM Symposium exhibition “In Transit,” which featured work about transition. He mentioned, “Time is at all times in transition and might be extra so when ‘In Transit.’”

In 1980 Les returned to his household’s 3,000-acre wheat farm in Harrington to “play within the grime,” as he referred to as it. “I got here again to Harrington as a result of I knew I might use farming to assist my artwork behavior,” mentioned LePere in a 2018 article for the Spokesman-Evaluate.

Poster produced for the 100th anniversary of Les’s hometown of Harrington, WA, US, image courtesy of the estate of LWL — Poster produced for the one hundredth anniversary of Les’s hometown of Harrington, WA, US, picture courtesy of the property of LWL

Les led a full and inventive life, dedicated to the playful path, even when driving his mix by means of the rolling white wheat fields of jap Washington. He described it as “driving to New York Metropolis and again yearly at 4 mph!”

Leslie W. LePere, Robert E. Lee Disliked Cabooses, 1971, ink and colored pencil, 9 x 10 inches (22.9 x 25.4 cm), image courtesy of the estate of LWL — Leslie W. LePere, *Robert E. Lee Disliked Cabooses,* 1971, ink and coloured pencil, 9 x 10 inches (22.9 x 25.4 cm), picture courtesy of the property of LWL

Les at all times stored pencils and paper within the mix cab, harvesting concepts together with the comfortable white wheat. When he bought residence at night time, he would unpack these concepts and convey them to fruition in what was his mom’s eating room. He was a farmer by day and an artist by night time. “It completely put a smile on my face and a track in my coronary heart to know that I used to be in a position to mix each loves and passions,” Les instructed the Spokesman-Evaluate in 2013, for an article coinciding together with his retrospective Magic of the Objects, held at Jundt Artwork Museum, at Gonzaga College, in Spokane.

Book cover for Magic of the Objects, photo courtesy of Autumn Brown. This book was printed alongside a retrospective of Les’s work at the Jundt Art Museum, at Gonzaga University, in Spokane, WA, US, in 2013. Les left a blank space on the cover so that objects could be glued to the front. This one is covered with items from Ken Cory’s coin collection, as well as a commemorative Pencil Brothers pencil. — E book cowl of *Magic of the Objects,* picture courtesy of Autumn Brown. This e-book was printed alongside a retrospective of Les’s work on the Jundt Artwork Museum, at Gonzaga College, in Spokane, WA, US, in 2013. Les left a clean area on the duvet in order that objects could possibly be glued to the entrance. This one is roofed with gadgets from Ken Cory’s coin assortment, in addition to a commemorative Pencil Brothers pencil.

Les’s illustrations radiated an electrified reverence for his surroundings and the objects inside it. His pictures—distillations of private expertise—have been typically laced with hidden that means and set towards huge landscapes, like wheat fields stretching to a broad horizon. He credit his life in Harrington with serving to to mould his creative imaginative and prescient. As he instructed the Spokesman-Evaluate in 2013, “I feel possibly rising up on the farm, the place kind follows perform, had an amazing deal to do with it. I discovered myself falling in love with objects and shapes and recognizable issues. To me, every of these recognizable issues has a life, a karma, virtually a philosophy of its personal—thus magic.”

Les’s kitchen window, May 2018, photo courtesy of Autumn Brown — Les’s kitchen window, Could 2018, picture courtesy of Autumn Brown

Leslie W. LePere, No Kitsch Kitchen, 2005, colored pencil and ink, image courtesy of the estate of LWL — Leslie W. LePere, *No Kitsch Kitchen,* 2005, coloured pencil and ink, picture courtesy of the property of LWL

Les was beneficiant with each his time and spirit. In 2017 he hosted a small inventive residency at his “Pencil Farm” barn studio. We have been all desperate to step into his world, and had a blast within the studio doing it. By no means one to take the apparent route, Les devised a bunch challenge: adorning lampshades. It wasn’t rooted in metalsmithing or illustration, which meant the inventive taking part in discipline was huge open. We have been free to discover, experiment, and easily get pleasure from making collectively. Les had spent weeks thoughtfully planning a superb lineup of native experiences to assist us savor the spirit of Harrington. He was happy with his residence, his group, and his roots. His hospitality went above and past something we might have imagined. That was Les: ever creative, ever inclusive.

Leslie W. LePere, I Will Leave a Light On for You, 2017, postcard for Summit at Pencilfarm Studio in colored pencil and ink on paper, image courtesy of the estate of LWL — Leslie W. LePere, *I Will Depart a Gentle On for You,* 2017, postcard for Summit at Pencilfarm Studio in coloured pencil and ink on paper, picture courtesy of the property of LWL

Exploring the farm on that go to, I felt I used to be strolling by means of one among his illustrations. The unimaginable collections of objects all through his residence adorned each floor like small altars igniting reminiscences and connection to his previous, silently conveying his tales round each nook of the room. The clouds in Jap Washington actually did look cartoonish—his pencils didn’t lie! And the random asparagus shoots poking up all through the property made complete sense now! I had at all times questioned about their presence in his illustrations. Gazing out over the expansive wheat fields, it was crystal clear the place he drew inspiration.

Les LePere and Bob Ebendorf were best friends during his last years, talking almost every day. Here they are in the neighbor’s barn, goofing around with some large holiday decorations, photo courtesy of Autumn Brown — Les LePere and Bob Ebendorf have been greatest associates throughout his final years, speaking virtually day by day. Right here they’re within the neighbor’s barn, goofing round with some giant vacation decorations, picture courtesy of Autumn Brown

Les LePere led a life stuffed with grit, grace, humor, and wild creativity. He wasn’t afraid to problem conference. He adored the handmade and the heartfelt. He was deeply rooted and wildly imaginative.

Les riding a small train with cute puffy clouds behind him during a tour at the Inland Northwest Rail Museum, photo courtesy of Autumn Brown — Les driving a small practice with cute puffy clouds behind him throughout a tour on the Inland Northwest Rail Museum, picture courtesy of Autumn Brown

To know Les was to be impressed—and to snort. And to overlook him now could be to hold ahead the enjoyment, curiosity, and artistry he dropped at the world.

Object collages inside Les’s home, photo courtesy of Autumn Brown. Some notable items: image of Pencil Brothers at their tiled mound; Ken Cory belt buckle; Dodge Brothers radiator cap. — Object collages inside Les’s residence, picture courtesy of Autumn Brown. Some notable gadgets: picture of Pencil Brothers at their tiled mound and the Dodge Brothers radiator cap partly liable for their moniker.

His legacy lives on in each one that picks up a pencil, pauses to understand a well-designed object, or believes that magnificence belongs—even in a wheat discipline.

Leslie W. LePere, Silent Partner, 1978, ink and watercolor, 4 x 4 inches (10.2 x 10.2 cm), Private Collection, image courtesy of the estate of LWL. In discussing Silent Partner, Les said, “Recognition in the completion of a piece allows you to see beauty in and around your life. After you produce a piece, if you turn your senses back out into the world around you, you can use the piece that you have made to shed light on life. The learning that occurred during the making of the piece is reflected in elements of your environment and it will make you more aware.” — Leslie W. LePere, *Silent Accomplice,* 1978, ink and watercolor, 4 x 4 inches (10.2 x 10.2 cm), Non-public Assortment, picture courtesy of the property of LWL. In discussing Silent Accomplice, Les mentioned, “Recognition within the completion of a bit lets you see magnificence in and round your life. After you produce a bit, for those who flip your senses again out into the world round you, you need to use the piece that you’ve made to make clear life. The training that occurred through the making of the piece is mirrored in parts of your surroundings and it’ll make you extra conscious.”

Extra details about Leslie and his paintings
LePere, Leslie W. Magic of the Objects: The Art work of Leslie W. LePere. Jundt Artwork Museum, 2013

https://www.sandyparr.com

https://www.spokesman.com/tales/2013/oct/25/artist-captures-everyday-magic/

https://www.legacy.com/us/obituaries/spokesman/identify/leslie-lepere-obituary?id=55876320

https://www.ruralrevival.co/tales/2019/8/27/there-is-art-in-the-middle-of-the-earth

https://hechoamano.org/submit/13218-a-creative-excuse-31-leslie-lepere-re-release

https://www.spokesman.com/tales/2018/might/17/artist-leslie-lepere-continues-to-find-magic-in-th/

https://version.pagesuite.com/popovers/dynamic_article_popover.aspx?artguid=8afa827a-ee9b-4a98-93e0-ff06c002afe1&appcode=THE916&eguid=21a029c2-4501-4bd3-becd-09ff06876b78&pnum=101&fbclid=IwY2xjawJIabVleHRuA2FlbQIxMAABHQayAh2QZqwfQe4khqu_JwbbPEA077vOM4ZEE-OPaIQiVujDw4LiArgfeg_aem_qZkQ8jsTQMzhqabxh9ROkQ

We welcome your feedback on our publishing, and can publish letters that interact with our articles in a considerate and well mannered method. Please submit letters to the editor electronically; achieve this right here. The web page on which we publish Letters to the Editor is right here.

© 2025 Artwork Jewellery Discussion board. All rights reserved. Content material might not be reproduced in entire or partially with out permission. For reprint permission, contact data (at) artjewelryforum (dot) org