You won’t find a slick of paint in the work of contemporary collage artist and Narooma local Leah Ann Early, but that doesn’t mean it lacks movement, richness, or texture. Quite the opposite.
Using paper sourced from vintage publications, Leah creates layered, tactile pieces that play with colour, pigmentation, shade and tone.
Her inspiration lies in the quiet complexity of the printed past. We had the chance to learn more about Leah and her practice, and found an artist deeply immersed in the world of colour.
What first drew you to collage as a medium?
The flexibility and fun of found images were definitely a draw for me. I began by making cards for friends and family — little, silly combinations of this and that. Eventually, I was drawn more towards the colour and textural side of the medium, and I happily sit in that space now — and, I think, forever.
You describe your pieces as “paintings without a drop of paint.” Can you tell us more about how you see colour and form working together in your art?
The choices I make about colour are completely based on what I can find — what already exists in print — but I believe the creativity and study of it all come from creating out of that found colour. It’s about making decisions: how one piece of paper relates to the tones or shades of another, and then using form to give them all connection and movement.
Why do you gravitate to vintage materials – especially from the 60s and 70s? What speaks to you about the type of paper from these materials?
Paper quality is the most important thing beyond the colours themselves. Throughout those years, for some reason or another, there was this perfect moment in time across most magazine publications where the paper was thin, slightly matte, and the printing just held this otherworldly quality of colour. I have no idea how to describe it well, but it’s somehow rich and bright and subdued all at once.
Do you remember the first piece you made where you thought “yes – this is me”? What was it?
It took a while to get there, but I started doing these little mini ‘sketches’ that became increasingly colour-focused, and things just took off from there! I don’t think it was one single work, but from those sketches I made a series of coloured pieces called Alternate Routes. That was the big turning point in my practice —and I’ve never looked back.
What’s your creative process like – do you start with a shape, a colour, a mood, or something else entirely?
I generally start with a pile of magazines, tearing and cutting out coloured backgrounds and blocks of single hues. These become piles of similar shades, which I organise together. From there, the process becomes more fluid — I’ll grab a pile and refine it by tone, then again by shade, until I have enough material to cover a board. Sometimes I have to do little mini searches for a single colour — looking through 20 magazines to find the perfect shade of the perfect colour for the perfect spot. Sometimes you fail, and sometimes — there it is.
The Eurobodalla and Sapphire Coast is a dreamy place to live and create. How does your environment shape your practice?
Of course! I find a lot of inspiration from the South Coast — little shapes and patterns in the surf and sand, the haze of a salty morning, or the fading light behind Gulaga.
What’s on your studio table right now?
A small heater, a lamp, a little clock so I can put my phone away. A pile of blues and greens in one corner, several pairs of scissors, Yamato sticking paste, and a few sponge brushes. Off to the side, I have the latest issue of Contemporary Collage Magazine and my favourite mini reference books, A Dictionary of Colour Combinations (Volumes 1 & 2).
Fav spot on the coast?
Honestly, my pick changes all the time! I’m not a huge fan of wind, so wherever is sheltered and warm on the day will be my favourite spot. If there are little knee-high waves, that doesn’t hurt either.
Where can people see your work, or take part in one of your workshops?
At the moment, I have a few pieces up at Frame & Brush in Bermagui for their month-long show Little Beauties. I mostly share my work through Instagram @leahannearly and my website leahannearly.com. A few other exhibitions are in the works, so follow along to stay updated.
