︎
Leslie Eastman
Exhibitions

The Cave, the Flood

Encounters

Light upon Light

Lightmatter
The Waves of the Same Sea
CIC
Heliotrope
Air Light Form
The Illuminated Field
The Observer Effect
A Scintillation of Particles and Waves
Corrected Perspective
Thresholds and Displacements
The Implicate Order
 For the Being of Time
For the Time Being
XYZ : NYC
Synoptic
A History’s Shadow
Meridian
Dark Light
Formless
Pointform
The Visible and the Invisible
Eraserhead
Intelligence
Cube
Gertrude Residency
Scan
In the Light of the Other
A General Review of Gain and Loss
Negotiation
Artschool


Light Projects
Studio Networks
 Email
Instagram


This is the website of artist Leslie Eastman who lives and works in Naarm / Melbourne, Australia.


I wish to honour and pay my respects to the traditional owners and custodians of the people of the Woi wurrung and Boon wurrung language groups of the eastern Kulin Nations, where I live and work. Also, to the Wada wurrung, Djab Warung peoples of what is now known as Ballarat, and the Bindal and Wulgurukaba People of what is known as the Townsville area in the north east of this continent where I spent my teenage years. 

I respectfully acknowledge their ancestors and elders, past and present and their enduring connection to the land and creative culture which dates back over 60,000 years, dwarfing the history of my ancestors.  I also extend my respects and good wishes to all peoples who live with the consequences of European colonialism.


Leslie Eastman

For the Being of Time

Conical Gallery , Melbourne, 2012



Laser cut mirrored stainless steel, electrical motors, altered gallery louvers, haze machine, timer.






Palomar Heart, 2012
Edited found footage


For the Being of Time explores chronology and otherness at the heart of the perceiving subject. The title for the exhibition inverts that of Eastman’s recent exhibition For the Time Being. This exhibition at Conical is the mirror image of the other but as always in mirroring, difference and indeterminacy enter the heart of the matter.

In For the Being of Time optical-kinetic forms and video works address ideas of the circulation of moving bodies in time and space. The works are derived from Eastman’s drawing practice that employs repetition and geometry to suggest natural processes of iteration and generation as well as from his interest in scientific instruments of measurement and observation. These pairings suggest a species of clock whose hands move unceasingly, literally performing the round in a cycle of contraction and diffusion.

The video documents the annual cleaning of the two hundred inch mirror at the Palomar observatory.

For the Being of Time utilises a ‘light atmosphere’ drawing attention to the qualities of natural light unique to the gallery architecture. The space itself is staged as a gaseous helioscope, responsive to the circulation of the Spring light from the distant celestial body that articulates the front space at Conical.

With warm thanks to Jake Carter for his assistance.


Next Page ︎︎︎