Gallery Exhibitions
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Riding Chaos Recent work by Leigh Toldi Most of the work I have created throughout my life has begun in a state of chaos. Without preconceived ideas of imagery in mind I take the media in hand, close my eyes, and make an intentionally uncontrolled jab, line, swirl, swish or splash on the canvas. I study the “mess” and through careful searching of the shadows and tints, discover form that defines the essence of the work and build from there. Basically, each canvas is a treasure hunt. About five years ago I increased the sense of discord in the imagery of my work. I had just returned from a trip to the visually chaotic modern world of Tokyo, where bright, bold advertisements seemed to be plastered on every corner and surface of the city. Back home again I noticed that the invasion of visual space was increasing here as well. Buses are now covered in media murals and TV monitors thrust advertisements at shoppers in supermarket check out stands and gas stations. Even the sedate Bank of America changed its soothing gray/white background logo colors to a jarringly aggressive fire red. |
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It became clear that I now lived in an increasingly chaotic world: Political and social human rights transgressions are being reported from almost every country on the planet; the weather has become an unknown with the advent of global warming; the world economy is experiencing an unprecedented collapse. My immediate social sphere includes experiences of life threatening infections, job instability, home instability, and the confusion and instability found in the final stages of life itself. Clearly, art about survival in a world of chaos is in order! Riding chaos. Chaos, when seen from afar, is quite a fearsome image. It is often ugly and difficult to quantify. Our immediate reaction might be to look away in the fear that we could be sucked in and lost. On the other hand it could be possible that a closer inspection can lead to dissipation of fear, or perhaps to enlightenment. |
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I have attempted to create an art form that inspires this type of push/pull negative/positive reaction in the viewer. The work is meant to be viewed from both a distance and then up close, some pieces benefiting from the use of a magnifying glass. Questions for the viewer include: What can be learned in looking from different perspectives? Are there different treasures to be found from each position? After a close viewing does the overall image take on new meaning when viewed again from a distance? There is no right or wrong way of interpreting the meaning behind these paintings and drawings. My intention is that the viewers interact with the imagery individually, hopefully find a personal dialogue with the work, and perhaps take home with them musings about the process of dealing with the chaos in their own lives. Leigh Toldi September 2009 |
