September--The Dynamics of Air with Natasha Johns-Messenger, Storey Hall, RMIT

November-- Solo exhibition Fort Delta Gallery, Melbourne



>>>>>Darebin Art Prize -Shortlisted entry

>>>>>Blindside B Side with Natasha Johns-Messenger

>>>>>Light Time Scienceworks July 2017

>>>>For the Being of Time --AMA 2017 Islamic Museum of Australia

>>>>Dawn Viewing/Reading Heliotrope Blindside February 2017



>>>>>>> The Illuminated Field Islamic Museum of Australia, February 2017



>>>> A Scintillation of Particles and Waves with Michael Graeve, Westpace 2016

Acoustic Positions

>>>>>>The Observer Effect >>> Live View to ATCA Observatory 2016


For the Time Being, at Dancing Umbrellas, curated by Sue Cramer, Heide Museum of Art, Melbourne, 2016.


I am interested in the world of phenomenological perception that arises from a relationship of encounter rather than the existence of images or objects.

Modern ideals reject relationships with otherness, take the path of representation , and require construction of autonomous , preconceived objects. As a result , the space of everyday life is full of image based objects and information. Unfortunately , this situation leads to discrimination and rejection of the outside world and people who are different. Everything is contained in a clear, evident and nihilistic atmosphere that is maintained in order to control identity.

Lee Ufan, Art of Encounter, Lisson Publications, London, 2008, 32.


Reading from Eye and Mind, Merleau-Ponty, in the Merleau-Ponty Aesthetics Reader, Edited by Galen Johnson, Northwestern University Press, 1993

This initial paradox cannot but produce others. Visible and mobile, my body is a thing among things; it is one of them. It is caught in the fabric of the world, and its cohesion is that of a thing. But because it moves itself and sees, it holds things in a circle around itself. Things are an annex or a prolongation of itself; they are encrusted in its flesh, they are part of its full definition, the world is made of the very stuff of the body. These reversals, these antimonies, are different ways of saying that vision is caught or comes to be in things- in that place where something visible undertakes to see, becomes visible to itself and in the sight of all things, and in that place where there persist, like the original solution still present within crystal, the undividedness of the sensing and the sensed.

I would be hard pressed to say where the painting is I am looking at. For I do not look at it as one looks at a thing, fixing it in its place. My gaze wanders within it as in the halos of Being. Rather than seeing it, I see according to, or with it.”

They (drawing and Painting are the inside of the outside and the outside of the inside which the duplicity of feeling makes possible and without which we would never understand the the quasi presence and imminent visibility which make up the whole problem of the imaginary.

The picture..(is) ..not borrowed from the real world in order to refer to prosaic things which are absent. For the imaginary is much nearer to and much farther away from the actual –nearer because it is in my body as a diagram of the life of the actual , with all its pulp and carnal obverse exposed to view for the first time…And the imaginary is much farther away because etc 127.

In short the same thing is both out there in the world and here in the heart of vision.

And so it is not a question asked of someone who doesn't know by someone who does-the schoolmaster’s question. The question comes from one who does not know, and it is addressed to a vision, a seeing, which knows everything, and which we do not make, for it makes itself in us. EM128




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















All images copyright Leslie Eastman