Natasha Johns Messenger and I are developing new work to be shown at Station Gallery in Sydney in July 2021. Planned for 2020 but delayed. We visited the gallery in February to measure up and feel the boundaries of the space.

We are working on the principles of our Pointform collaborations which work with mirror and architecture but more pointedly with expectation and assumptions about what is solid and what is air.

These approaches continue to be allegorical and speculative. We are working with David Robinson, Industrial Designer, to develop new works with light and shadow.



I am developing new work for The Air We Breath curated by Jan Duffy and Matt Perkins for the Counihan Gallery in Brunswick. These will be works developed during lockdown that relate to projection, light and kinetics.


I have been honoured to work with the Coburg Islamic Centre giving suggestions and advice on their forthcoming rebuild. Their question to me has been how to make a welcoming threshold for the broader Australian Community and a space that symbolises friendship and unity.

Here are some of the many ideas and suggestions that have come out of this friutful and fascinating discussion. Architect Hakan Elevli who worked with Glen Murcutt on the Newport Mosque and Aydin Corrporate Interiors.


A series of photographs working with prisms and light produced during the confinement of the Pandemic.


Writing Forthcoming for Bridie Lunney and James Carey on Alchemy and Breath for their exhibition at Project Space at RMIT in September. Exploration of materials and melting points.



Walking the outskirts of Mount Beauty with Emily my wife and Beda my daughter. The town is aptly named. Thinking of the scale and scope of the Snowy Mountains Scheme.

Camping with my son Junaid. At the foothill of Mount Buffalo.


A year working with the brilliant Suzie Attiwill and her team in Interior Design at RMIT - wonderful and strange to be working at my old place of learning. Swept into online teaching unexpectedly. Initially great studio time. The second lockdown really challenging.



Remarkable -in hindsight- opportunity to travel to Turkey after finishing up at Monash. A visit to the extroadinary Istanbul and frozen Konya. Many days pacing to streets. Visiting mosques, ferry rides, libraries and markets.









>>>>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