A graduate of Melbourne University and RMIT, Leslie Eastman has held over thirty solo and collaborative exhibitions nationally, at venues such as ACCA, Linden and Experimenta, and internationally. He has been the recipient of grants from the Australian Film Commission, the Australia Council for the Arts and Arts Victoria.

His installation works utilise a range of media including lenses and light, large scale mirrors, drawing and video to explore the deceptively simple fact of our presence in and perception of the world.

The work explores the issue of the subject and its enigmatic relationship to the unbounded environment, or another way is to say that the artwork opens onto the environment, the greatest context, and its relationship to the finite subject.

Leslie has often worked in collaboration with both artists and writers as a way of questioning conventional assumptions about authorship as well as working in response to a situation or location as a way of extending and testing the role of art practice and its outcomes.

Leslie was a key member of Light Projects, an experimental project space in Melbourne which held over thirty exhibitions by local and international artists addressing themes of psychoanalysis and perception. See light-projects.net

Leslie is a Senior Lecturer in the Department of Fine Art at Monash University.

 

Heliotrope
The Illuminated Field
A Scintillation of Particles and Waves
The Observer Effect
Corrected Perspective
Thresholds & Displacements
The Implicate Order
XYZ-NYC 10 Downing
 
light-projects.net

 

 

 

 

I emphasise the interwoven relationship between the subjective encounter and the surrounding world in my art work. I draw on Maurice Merleau-Ponty’s notion of Flesh and Keiji Nishitani’s Śūnyatā - or radical impermanence. For both writers, science and secularism involve an objectification of both the natural world and human subject, leading to the de-personalisation of both. Their approaches seek to unravel the distinction between self and other. In particular, the notion of a dissolving or omnidirectional vision proposed by both writers informs my interest in the greatest context that we cannot see but which sees us.

The challenge is to develop artistic experiences that suggest a relationship of reciprocity and permeability between the subjective encounter and the surrounding world. In addition, I explore through the works the conditions of seeing, which are characterised simultaneously by separation and continuity, visibility and invisibility, presence and absence.

I contrast critiques of phenomenology with a re-emergence of phenomenological art practice. By grounding an introspective aesthetic experience within the social domain I seek a deeper understanding of the phenomenological framework, which my work draws upon.

Painting is the informing artistic heritage of the installation practice I work with. Painting is constituted through the division of sight and touch, and inherently addresses visuality (learnt seeing) and seeing. I work with issues of framing, of real and pictorial space, opacity, transparency and displacement in my installation work to explore the enigmatic relationship between the haptic and the optic.  Through these works I hope to prompt larger revelations about the conditions of perception. The ambition is that the viewer may become a navigator of visibility through revealing invisibility; through perceiving yourself perceiving. The implication is the experiencing subject may change their surroundings through an understanding of its conditions. These conditions are both introspective and social, and consequently have a cultural significance.

This practice is a conditional one, focusing on the experience of light, space, time, and contingency in an attempt to identify the framework of perception in which the sensible is distributed. Drawing attention to these conditions in which the frame of invisibility is exposed is an allegorical approach intended ultimately to remind us of our place as embodied subjects open to otherness and the infinite.

 

 

 

 

All images copyright Leslie Eastman