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Leslie Eastman
Exhibitions

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

Formless

A collaborative installation with Natasha Johns-Messenger
A commission for Experimenta Vanishing Point, 2005




 
“Given the title of the exhibition, it's surprising so few works handle perspective and architecture. The most elegant is Formless by Leslie Eastman and Natasha Johns-Messenger.

It echoes the forms of the Arts Centre, but plunges the visitor in a deep mist upon entry. With its sense of metaphor and reference, this work provides a euphoric experience for children who hurtle blindly through the fog and emerge damp and laughing.”

Reviewer Robert Nelson
The Age, September 28, 2005


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