LEITH MAGUIRE

Leith Maguire 'Barndioota Road(kill)' 2015 ink and gouache on paper 56 x 76 cm

BIOGRAPHY

Leith Maguire has a Bachelor of Fine Art (Drawing and Print Media major) from the Queensland College of Art (Griffith University), Brisbane (2007) and a Masters of Cultural Materials Conservation, University of Melbourne (2014). Her work has been exhibited in Melbourne, Sydney, Brisbane and Cairns. In 2013 Maguire undertook the Hill End Artist in Residence Program, Bathurst Regional Gallery. She was awarded the Heather Blair Award, Cairns Regional Gallery in 2010. Maguire’s work is held in the collections of the Kedumba Collection of Australian Drawings, Cairns Regional Gallery, the University of Queensland Art Museum and Somerville House, Brisbane.

ARTIST CV

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PAST EXHIBITIONS

RUMINANT

ON SLEEPING

Late night.

This is,

it is waiting.

 

I am remembering

a pasture,

a figure,

an emptied field.

 

A memory of an emptied body.

Remote,

stricken,

weeping.

 

I have never met this.

 

Though I have visited often;

have walked,

felt calmed

by the familiarity of a docile face.

 

This that I cannot know

has come for you.

Is drawing you out

of crevices.

Deep folds of flesh

pried apart,

laid bare,

grafted to an uneasy possibility.

 

A bone.

 

This we think we know.

Gentle, aching creature

recomposing itself into elegant deformity.

 

So come closer.

So see closer.

This fur can be removed with skin.

 

A mutant rug

disguising

a violently awakened desire

to know the difference

between

pain that will unearth you

or bury you.

 

A quiet moment politely enters.

Smiles,

thanks,

apologises,

brings flowers, Mexican chocolate,

thanks, asks permission to excuse itself.

The trembling barely visible.

No one would know.

 

We think we know this.

This accommodating body.

Standing, watching, mutely treading.

Lidded eyes that will be plated up as delicacies

when the time comes.

Same eyes are watching

the body as it realises

a need too heavy to hold.

 

It must wring.

It must morph.

Must drag itself through the

glaring exposure.

Let blood melt cage until it spills out of itself

into a wet salty, staining mess.

That can be seen.

 

It has been nine years since

I saw the first waters drain from your face.

Since we entered the hot tin shed,

since the strange pull of image drew

us under the same leaking roof.

You and your beasts washed

into painstaking clarity,

left exposed to the formlessness

of your own tethered flesh

always obscured from view.

 

We will witness the necessary exorcism.

We will remain seated and still through the ugliness of it all.

As some face away we will hold a hand to the delicate surface,

listening.

 

Lz Dunn

 

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ON WAKING

 

 

here a mutant

skinned and flattened for examination

a rug hung on display

spread out to walk upon

 

a geographic flesh

concealed beneath fur

embryo tethered

to a sickness

a prediction of decay

forsaken creatures

survivors

a human experiment

this is not comfortable

we are unable to move

 

this is a letter to you

this is a letter from me

 

there are some things i may know

about you

i presume

about being moored to bucolic inventions of

docility

seed to grass to cud to

formless desire

for another inhabitation

a gratuitous reckoning

with a compromised past

a poisoned pasture

an exquisite disfigurement

a hope

as we sink back into the womb

to become a creature undone

recast

the shape of being remembered

exposed, untouched

flesh devoid of detail

intimacy captured

by the hand that carefully strokes

 

over fur

over bone

 

the living and the leftovers

the document of dread

and confusion

between

dusk and dawn

there is light only if darkness can also immerse a body

can shroud then unveil a new vision

 

Lz Dunn

STOCKROOM

NEWS

LEITH MAGUIRE’S EXHIBITION ‘HEADS OR TAILS?’ CURRENT AT LINDEN NEW ART UNTIL 17 JULY 2016

Heads or Tails? – Leith is interested in the way that living things exist in and move through the natural world. Her work is informed by the cyclic narratives related to death, decay and preservation. Leith’s passion for drawing allows her a means of articulating patterns and forms and highlights her own personal encounters with…

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