Behind The Brush with Lefty
Welcome to Behind the Brush, where we spotlight artists shaping our community. This week, we’re featuring Chicago-born artist Lefty Out There, whose signature “polymorph” patterns stretch across walls, sculptures, and screens worldwide. What began as graffiti on city streets evolved into a universal language of interconnected lines — representing rhythm, energy, and the invisible vibrations that link us all.
What’s the story behind the name Lefty Out There?
It started pretty literally. I’m left-handed, and I was “out there” putting my work into existence. Over time, it stuck because it felt bigger than just a nickname. “Lefty Out There” became a way of describing how I approach the world. A little off-center, constantly exploring, and leaving my mark in unexpected places.
How did your visual language evolve into your polymorph style?
My work started with simple, repeating patterns. I was fascinated by how a single line could create movement and energy. As I kept pushing, those lines started to shift, merge, and transform into what I now call “polymorphs”. They represent vibration, growth, and the invisible threads that connect everything. It’s been a slow evolution, but each step has been about adding depth while staying true to that core language of interconnected lines.
How do you attribute graffiti to the development of your artistic style?
Graffiti was like my art degree. Though I am not formally trained in visual arts, graffiti is where I experimented, spent the 10,000 hours and got my name out there. I used to travel to cities, sometimes solo or with other friends, with the sole purpose of just putting up graffiti. I was a big wheatpaster in my early years and 90% of that work that I put up was hand drawn. I would draw all day and night in the studio, sometimes spending 20+ hours on a single piece just to put it up on the streets. Through this time I was able to take risks, flush out ideas, and see which style people organically reacted to the most.
How do you balance spontaneity with planning in your compositions?
I always start with a loose framework, but I leave room for the work to surprise me. My patterns have a natural rhythm, and I’ve learned to trust that flow. Creating a pattern with as many nuances as mine is like constant problem solving, constantly trying to make a balanced yet free flowing pattern.
You’ve created and shown in cities around the world, ranging from London to Miami to your hometown of Chicago. How do these different places inspire you?
Every city has its own vibe that I try to engulf myself in. Graffiti in a way has forced me to spend more time on the streets, walking the neighborhoods and taking in my surroundings. Chicago gave me my grit and foundation. London has this incredible mix of culture and is such an international city that I hope to some day live in. Miami is rich in art and culture with lots of colorful inspirations. I carry many of those experiences into my work.
You’ve left your mark in so many cities. Is there one place or moment that felt especially personal or rewarding?
I always get such a rush putting my art in a new country. Some pivotal places for me have been, Qatar, Japan, and Nicaragua. It has always been a goal to get my art to Antarctica and potentially even outer space in some way. Nothing to share yet but there has been talks on making both of those dreams come true in the near future!
From walls to sculptures to home goods, it seems like you truly can cover everything. How has your experience been creating across so many different mediums? Is there a new medium you’re experimenting with?
My pattern belongs everywhere because that’s what it represents. The invisible vibration that connects everything together. Moving into sculpture and functional design has been exciting because it takes my work off the flat surface and into people’s physical space. Lately, I’ve been experimenting with projection mapping and fusing that with physical art.
How do you hope people feel when they experience your work?
I want people to feel a sense of connection to each other, to the space they’re in, and even to themselves. My work is rooted in rhythm and energy, so I hope it creates a moment of stillness and focus, almost like visual meditation. If someone can stand in front of a piece and feel both grounded and expanded at the same time, I’ve done my job.
You’ve collaborated with artists ranging from Bad Bunny’s music video set to John Summit’s stage visuals. What’s most exciting to you about these projects?
I love when my work collides with other worlds like music, performance, and design. Collaborating with artists like Bad Bunny and John Summit allows my patterns to interact with sound and movement, typically on a massive scale, being played on the LED video walls at concerts.
Can you share with us a time you created something that felt like a turning point in your career?
It’s hard to pin point just one turning point but a big moment for me happened around 2012, which was the first time I was able to support myself fully from art. I was just skating by for the first few years but that hope and determination gave me the motivation to keep grinding and get to where I am today. Another big moment was when I transitioned from working/living in the same place. For many reasons, this was a blessing for my physical and mental health.
