Canadian based painter and illustrator. Leitch received his BFA from the Emily Carr University of Art and Design in 2008 and has since been showing work in both Vancouver, Canada and San Miguel de Allende, Mexico.
Phototropism is the act of a plant responding toward a specific source of light. Leitch’s paintings aims to subtly imply this mechanism in nature. His works suggest this process using rhythm of line and vectors that gently arc and gravitate towards the paintings’ sun representation. The organisms that portray the plant structures are abstracted so that the essence of the composition remains with the relationship between plant and sun. A secondary notion with this abstraction intends to display a harmonic and rhythmic quality between the organic structures themselves in a given environment; a utopic consideration of an interrelation of flora. Leitch’s large scale drawings are a formal investigation wherein complex organic forms are expressed through extensive line repetition. A flattened cross-section of greater, implied forms reveal interconnecting systems of resonating lines; equilibrated systems that push and pull, divide and then converge into one another, contributing to a coordinated structure. Through employing repeated pattern and motif, these works draw attention to the internal, physical rigidity within a living form while dichotomously exhibiting fluidity and elegance within a state of growth. Further, these large scale drawings aim to highlight our compulsive, analytic nature to anatomize what we corporeally encounter. As a species, we are individually and culturally absorbed with the quantifying of that information. With consideration to the drawings, we encounter a visually flattened dissection of both identifiable and unidentifiable subjects. With scrutiny we glean information that microcosmically represents greater structures within the unit itself. What does this say about our mechanism of observing and how does this aid in our macrocosmic perceiving?
Born in British Columbia, 1985.
EDUCATION
2008, Bachelors of Fine Arts,
Emily Carr University, Vancouver, B.C., Canada
ART INSTALLATIONS
2019, VanDusen Botanical Gardens, British Columbia, Canada
2020, VanDusen Botanical Gardens, British Columbia, Canada
2021, VanDusen Botanical Gardens, British Columbia, Canada
SOLO FINE ART EXHIBITIONS
2019, VanDusen Botanical Gardens, British Columbia, Canada
2016, Naderia Gallery, San Miguel de Allende, Mexico
SELECTED GROUP SHOW
2019, Galeria Noyola Fernandez, San Miguel de Allende, Mexico
2016, Galeria Noyola Fernandez, San Miguel de Allende, Mexico
PUBLICATIONS
Orion Magazine (Summer Issue)
2020. Pg. 44-45, Print Discorder (April), 2012. Pg. 20, Print
Canadian based painter and illustrator. Leitch received his BFA from the Emily Carr University of Art and Design in 2008 and has since been showing work in both Vancouver, Canada and San Miguel de Allende, Mexico.
Phototropism is the act of a plant responding toward a specific source of light. Leitch’s paintings aims to subtly imply this mechanism in nature. His works suggest this process using rhythm of line and vectors that gently arc and gravitate towards the paintings’ sun representation. The organisms that portray the plant structures are abstracted so that the essence of the composition remains with the relationship between plant and sun. A secondary notion with this abstraction intends to display a harmonic and rhythmic quality between the organic structures themselves in a given environment; a utopic consideration of an interrelation of flora. Leitch’s large scale drawings are a formal investigation wherein complex organic forms are expressed through extensive line repetition. A flattened cross-section of greater, implied forms reveal interconnecting systems of resonating lines; equilibrated systems that push and pull, divide and then converge into one another, contributing to a coordinated structure. Through employing repeated pattern and motif, these works draw attention to the internal, physical rigidity within a living form while dichotomously exhibiting fluidity and elegance within a state of growth. Further, these large scale drawings aim to highlight our compulsive, analytic nature to anatomize what we corporeally encounter. As a species, we are individually and culturally absorbed with the quantifying of that information. With consideration to the drawings, we encounter a visually flattened dissection of both identifiable and unidentifiable subjects. With scrutiny we glean information that microcosmically represents greater structures within the unit itself. What does this say about our mechanism of observing and how does this aid in our macrocosmic perceiving?
Born in British Columbia, 1985.
EDUCATION
2008, Bachelors of Fine Arts,
Emily Carr University, Vancouver, B.C., Canada
ART INSTALLATIONS
2019, VanDusen Botanical Gardens, British Columbia, Canada
2020, VanDusen Botanical Gardens, British Columbia, Canada
2021, VanDusen Botanical Gardens, British Columbia, Canada
SOLO FINE ART EXHIBITIONS
2019, VanDusen Botanical Gardens, British Columbia, Canada
2016, Naderia Gallery, San Miguel de Allende, Mexico
SELECTED GROUP SHOW
2019, Galeria Noyola Fernandez, San Miguel de Allende, Mexico
2016, Galeria Noyola Fernandez, San Miguel de Allende, Mexico
PUBLICATIONS
Orion Magazine (Summer Issue)
2020. Pg. 44-45, Print Discorder (April), 2012. Pg. 20, Print