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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

In the Light of the Other

1st Floor Artists and Writers Space, 1997




In the light of the other was the culmination of a series of solo works (In Time, 1st Floor, Flux, Stripp Gallery, Studio 5) and collaborative projects (General Review, Westspace) which utilised light as a medium between spaces and as a means to emphasise the viewer's awareness of themselves perceiving. The work utilised a series of camera obscura images of various intensities, with and without optical lenses. A sequence of encounters was devised in which participants would slowly adjust to the darkness of the gallery space then move from the brightest to the weakest projected obscura images in a cascade of recognition and awareness. Only after up to 10 minutes did viewers appreciate the extent of the obscura 'murals' on the walls and ceiling of the gallery and that they had been observed by other viewers in this unfolding process. Photographic documentation can only partly record this process.


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