This summer, Międzyrzecz, Poland-raised, New York City-based Łukasz Leja lived in the storied walls of Echo Park’s Tom of Finland Foundation. There, over the course of a three-month residency, the fine artist produced 12 evocative, voyeuristic oil paintings, a table collage, and a woven blanket, as well as three photographic prints (the latter alongside collaborator Richie Lee Davis). These works, in addition to a 50-page zine, and larger pieces from his early repertoire, came together for Luke of Poland, a beguiling display of the emerging artist’s talent.

The residency followed several artistic milestones—including a large-scale piece within a group show in the legendary Berlin nightclub Berghain, and participation in a Queer photography exhibition at the NYC LGBT Community Center. Within his works, Leja captures moments at once provocative and sensitive. His invitation to gaze upon such intimacy is underscored by depth and gravity. A recipient of the Richard Tweedy Merit Scholarship, Leja will continue his figurative studies at the Art Students League this September, as he prepares for 2026 solo exhibitions and group shows in Los Angeles and Paris.

Following Luke of Poland, Surface spoke with Leja about his connection to Tom of Finland and his path to oil painting.

By Fernando Guerrero

Were you always a fan of Tom of Finland?

Yes. I discovered his work as a teenager in Poland while searching for “Gay art,” “Queer artists,” or “drawings of naked men” on the internet. Unsurprisingly, one of the top results was Tom of Finland. Tom’s illustrations, along with other artists like him, made me feel seen and less alone. After moving to the U.S., I kept encountering his work in bars, on T-shirts, tattoos, and framed in Manhattan apartments. His art became a major source of inspiration.

What led you to apply to the Tom of Finland Foundation residency?

Learning about the Foundation, which preserves and promotes Tom’s work along with that of other Queer artists, I immediately yearned to be part of that community. I discovered their Emerging Artist Competition and, with a few paintings I was proud of, decided to give it a try. I won and flew to L.A. to accept the award. Seeing Tom’s house—his room, memorabilia, artworks, awards, photographs, and diaries—alongside their vast archive of over 100,000 pieces, I instantly knew I wanted to be part of it. They encouraged me to apply, but I didn’t need any encouragement. Accessing these resources, living in the historic house, having an outdoor painting studio, and being welcomed into a community of like-minded people made me fall in love with the place at first glance.

By Fernando Guerrero

How did you arrive at the title “Luke of Poland?”

It honors the Queer and Queer-erotic artists who worked at a time when it was illegal—artists whose work was rarely exhibited and who often couldn’t sign it with their real names. While researching the Tom of Finland Foundation archive, I noticed a trend: pseudonyms combining a simplified first name with a place of origin—Tom of Finland, Bruce of LA, Len of London, and so on. Luke of Poland is my alter ego, used to explore my fantasies and work, but it is also a tribute to those who paved the way for 21st-century Queer artists. Their efforts allow us to be celebrated today.

By Fernando Guerrero

You also pose with your own works in photography. Is it artistry or promotion?

I don’t separate the two. As a photography lover, I explore self-portraiture—posing alongside paintings, recreating their gestures, or using my body as an extension of the canvas. Photography introduces new planes and perspectives, enriching my painting. It’s part of my artistry, and I’m proud of these images. If they resonate with others, that’s a bonus.