Leecie’s work is disarmingly simple – both her paintings and her installations. And I stress “disarming” because less discerning eyes might say they are simple, period. But those eyes would have allowed themselves to be fooled into thinking that simplicity is a weakness.
Not so. If you take the time to allow her work to get in under your skin, it sort of flows on into you and slowly convinces you that your body is floating or glowing, like a melody or a rhythm, and then there is the intuition that maybe you’ve been changed a bit from meeting up with it, and connected to something old and important.
Her ephemeral installation on the headlands rock at Point Lookout was truly buffeted by the wind and rain last Friday night. So the fabric strips she had shaped into grids flew up and stuck in branches, tangled and moved metres from their original positions, and looked more like scraps of clothing than their original incarnation as a thoughtful, carefully crafted meditation on how Nature shows us patterns that constantly repeat and echo one another.
I know for sure that Leecie was unfazed by the transformation that Paths underwent at the elements’ tough treatment. If anything, I believe she was fascinated by how she was able to reshape her initial concept: it had grown and surpassed itself with Nature’s collaboration.