JH

Leonard’s Aesthetic….Hmm?

AA
View Discussion
Virginia Leonard, Eating with Blue Blood and Village Knickers, 2025, clay, resin and lustre, 400 x 500mm plus ceramic tray.

Leonard's use of shiny metallic paints amongst ‘normal' chromatic colour seems to introduces an ironic twist to her palette. Is she laughing at notions of vulgarity or is she in earnest? To me the blending looks awkward and is not a smooth integration where like cohabits with like. In fact I find it excessive and strangely tacky.

Virginia Leonard

 

The Wedding Breakfast: An Ode to Olly

 

26 March - 19 April 2025

The explanatory blurb accompanying the striking ceramics show this work is in states that these large richly encrusted glazed pots are intended as a metaphor for the artist’s body, the painful medical problems that over the years have tormented it, and are titled to acknowledge the devotion of her attentive partner, Olly.

Bear in mind artworks do not always co-operate with the intentions of their makers, despite their naming or tactility, but can even be wilful disruptors vehemently independent. However, whatever the resulting trajectories of meaning here for the artist or viewer-so accept them if you wish—these are clearly fascinating, evocative sculptures (hinting via their outer surfaces of shellfish colonies or tightly entwined flowery jungle vines), very intensely coloured and rich in dense prickly textures and glossy curved surfaces, showing off decorative rhythms. And hues that are positively surreal. There is a dreamlike fantastical element.

Impossible to ignore, they are ‘in your face’, ‘full on’, & so not subtle—providing a memorable (pleasurable) bombarded-bodily experience. Influenced occasionally it seems by sculptors like Hesse or Bourgeois, but obviously not soft, flexible or linear.

Nuanced layered chroma is a salient factor as well, using thin modulated (usually hot) colour, as is the precise positioning of the vaselike containers on supporting plinths, be they short, vertical or horizontal white columns.

Leonard’s use of shiny metallic paints amongst ‘normal’ chromatic colour seems to introduce an ironic twist to her palette. Is she laughing at notions of vulgarity or is she in earnest? To me the blending looks awkward and is not a smooth integration where like cohabits with like. In fact I find it excessive and strangely tacky.

But is Leonard herself tacky? Or is the adjective describing a certain look only a mere device?

The novelist Martin Amis once commented on the late Joan Didion’s view that a writer’s style is a reflection of who they are. A self-portrait. He loudly scoffed.

I’m not scoffing, but I do wonder about where Leonard is pitching these.

A twitching eyebrow, shall we say?

John Hurrell

Print | Facebook | Twitter | Email

 

Recent Posts by John Hurrell

JH
Two visitors admiring the Roy Lichtenstein contribution. It shows smoke trails from fired rockets.

Impressive History of American Innovation

AUCKLAND ART GALLERY TOI O TAMAKI

Pop to Present: American Art (selected from the Virginia Museum of Fine Art)

 

Curated by Alexis Assam, Regina Perry, Sarah Powers, and Kenneth Brummel

 

8 November 2025 - 15 March 2026

JH
 Do Ho Suh, North Wall, 2005. Installation view at Auckland Art Gallery Toi o Tāmaki, 2025. © Do Ho Suh

Evanescent Architectural Screen

AUCKLAND ART GALLERY TOI O TAMAKI

Do Ho Suh

 

North Wall, 2005

 

Curated by Natasha Conland

 

26 July, 2025 - 1 March, 2026

JH
Installation shot of Jim Roche at Starkwhite.

Eviscerated ‘Tunnelling’ Surfboards?

STARKWHITE

Jim Roche


Jim Roche


4 October - 8 November 2025

JH
Louise Bourgeois, The Couple, 2003, aluminum, on loan from a private collection. Photo: Christopher Burke, © The Easton Foundation. VAGA at ARS/Copyright Agency, 2025 |

Brilliant Visceral Bourgeois

AUCKLAND ART GALLERY TOI O TAMAKI

Louise Bourgeois


In Private View


Curated by Natasha Conland


27 September 2025 - 17 May 2026