The waiting grounds
Nerissa Lea’s emotive paintings and sculpture assemblages
explore the dichotomy between the external world around
us and the sometimes frightening interior world of our own
brain which can haunt us endlessly. Far more alarming than
any tangible thing or place are the images, absurdities, dark
anxiety, guilt, memories and fear that frequent our minds.
Tasmanian based Lea cites the poems To Walter de la Mare, a
homage to the dream-weaver by T.S. Eliot, and One need not
be a chamber—to be haunted— by Emily Dickinson as kindred
deliberations of the shadowy world that inhabits our dreams.
Like these authors she lays bare these fragmented, nocturnal
narratives, highly nuanced and often illogical and unnerving,
for the viewer to consider. By incorporating elements of
autobiography in her darkly surrealist works Lea allows us to
glimpse into the private chambers of her mind exposing the
real and phantasmagorical characters of this parallel reality,
playful at times and unsettling at others.
Lea’s predominantly small paintings are meticulously executed
with refined compositions and an eye for detail. Populated
by symbols and allegory, the unexpected juxtapositions and
elements of surprise in Lea’s powerful works encourage the
viewer to look deep into their own psyche.