One of the key visual motifs of Lehr’s work that interests me is the placement of a central orb, like an eye or a moon. Interesting to see how this prevails through his career with the work still remaining fresh. My favourite example of the ‘tiny people used for scale’ device is for his piece The Crab.
Paperbacks, like album covers, were windows to the imaginations of others. We had only static points from which we ourselves could begin our own dreams. No video was there to dream for us.
From the age of 16 until I was 35, I traveled the world and sought out, in airport, train station, and port book turnstyles, paperbacks that featured Lehr's work. Though I often didn't know the name, I knew the style. Looking at your post I only now realize that, depending on his age, I both embraced and rejected books with his covers (unless I knew and was sold on the author). I'm a huge fan of his later work, where, for whatever the reason for the change, he felt the liberty to let his imagination soar.
One of the key visual motifs of Lehr’s work that interests me is the placement of a central orb, like an eye or a moon. Interesting to see how this prevails through his career with the work still remaining fresh. My favourite example of the ‘tiny people used for scale’ device is for his piece The Crab.
Paperbacks, like album covers, were windows to the imaginations of others. We had only static points from which we ourselves could begin our own dreams. No video was there to dream for us.
From the age of 16 until I was 35, I traveled the world and sought out, in airport, train station, and port book turnstyles, paperbacks that featured Lehr's work. Though I often didn't know the name, I knew the style. Looking at your post I only now realize that, depending on his age, I both embraced and rejected books with his covers (unless I knew and was sold on the author). I'm a huge fan of his later work, where, for whatever the reason for the change, he felt the liberty to let his imagination soar.