In the dynamic world of contemporary art, where themes like humor, introspection, and interconnectedness redefine creative expression, Leah de Oliveira emerges as a standout voice. Known for her ability to seamlessly blend traditional art techniques with modern themes, Leah’s work explores profound topics such as digital overload, societal norms, and the complexities of the human condition. Through her mastery of oil painting, ceramic sculpture, and assemblage, she challenges perceptions and invites deep reflection. Selfless Art Gallery had the privilege of sitting down with Leah to uncover her artistic journey, inspirations, and unique creative process. Here’s how the conversation unfolded.
"The Revolution", oil on canvas, 195 cm x 114 cm
Q: Walk us through your background – your upbringing, schooling, and those early experiences that have shaped your journey as an artist.
A: Well, I see art as a spiritual journey: how you go through it is something that you have to figure out on your own. Being born and raised in a very privileged environment whose values rely on ideas established by capitalism and patriarchy, the only way to access that – and therefore build a trustful relationship with my inner self based on spiritual growth – was to radically cut myself out from that alienating world, to start living in the present moment. That’s when and how I became an artist; by redefining ethical rules that would guide me through life, that were not a direct product of years of indoctrination. It was about looking at things with a brand-new perspective – more empiric, with a liberated sight – which consequently made life my institution. Then I spontaneously took a one-way ticket to Paris and have been enjoying the ride ever since then.
Q: Your work brilliantly balances humor, sarcasm, and introspection. How did you develop this unique artistic voice, and what inspired you to take this approach?
A: "Art is the distance that time gives to suffering. It is man’s transcendence in relation to himself,” once said Albert Camus. I believe that this applies to humor as well. I would even claim that, in fact, art and humor are inherent. When you choose to take life with less severity and start distancing yourself from the character you’ve been embodying, the hidden aspects of life that first seemed tragic magically transform into something quite laughable. By distancing yourself, you create space that will alter the way you respond to life; and as an artist, I felt the urge not only to spiritually create that for myself but also for others by materializing the laughter I was having into paintings or objects, all provoked by the spectacular human comedy I was thrown into the day I was born.
"The Fall", oil on canvas, 100 x 81 cm
Q: During our initial conversation, you mentioned that when you first moved to Paris, you became obsessed with literature. How has this passion influenced your art and creative process? What books have made a significant impact on you?
A: Literature allowed me to understand that there were similarities and connections between all the artistic disciplines – written pieces, pictorial, or cinematographic objects – and life as an experience. All the books I came across somehow emphasized the lack of freedom we experience as human beings. That’s how I figured out that artists – regardless of their medium of expression – deliver philosophical objects that might initiate questioning within others. It might be more evident with literature as books are less likely to be overly consumed, therefore overlooked. This is how I would like to approach art; with a destabilizing longing for limpidity and transparency. I was really moved by the complete works of Franz Kafka, whose wonderful imaginary still fascinates people nowadays.
Q: Building on that, you’ve mentioned that technology plays a significant role in your work. How has your personal experience with digital overload influenced your creative process and the messages you convey?
A: I was pretty much still a child when I first subscribed to social media, at the time they emerged – I had no faculty of discernment. The Internet stole many things from me; my interest in concrete things, my ability to reflect on different matters, and my willingness to organize into a hierarchy my experiences according to their nature – virtual or essential. That lasted 10 years. When I found myself out of that, I realized that so many people were completely trapped into that and had tragically lost control over their Internet consumption. This is something that we, as human beings, need to contest for it puts our sense of mindfulness at risk. That concern made me integrate technologies into my artwork quite naturally, as a way to take a stand against the damages they do to us.
Top to Bottom: Tête,Oil on padded cotton canvas, 70 x 70 cm: Promenade,oil on relief canvas,100 x 100 cm
Q: Let’s delve deeper into your mastery of traditional techniques. Your paintings style reflects the precision of the great masters. How do you balance this with contemporary themes and humor that define your work, and how has assemblage become a part of your artistic practice?
A: Though I have now a penchant for a more surrealistic approach and tend to dive into subjects and matters that are not directly Eurocentric, copying from the great masters – or I’d rather say declining – has been an extraordinary exercise for me to do. Generally, it allows artists to anchor themselves in tradition while developing technical skills, and in some cases – I’m thinking of Botero’s pastiches – to even create altered pieces of works that emit something else or contain other symbols. I thought it would be interesting to extract some household figures rooted in our unconscious like Marianne from their original canvases and incorporate them into an art object by drawing on their symbolic significance, in order to reveal something specific about our times.
Q: How do you approach exploring and expressing the concept of interconnectedness in your work, and what inspired your interest in highlighting how things are linked?
A: On the esthetical level, I’d say by adopting an attitude that allows me to always switch perspectives by diving into subjects whose essence differs – whether it’s political, sociological, poetical, metaphysical, sometimes more personal. Also by juxtaposing elements that sometimes clash, incorporating well-known art references that might emphasize timeless issues, focusing on details when it comes to more “trivial” matters. On a more ideological level, I believe that approaching art through interconnectedness is an act of resistance against the overly bureaucratic world we live in; it allows anyone who uses it as an approach to see what’s going on as a whole and not through divided sections.
Untitled., oil on canvas, 100x81cm.
Q: Looking deeper, your art invites viewers to laugh while reflecting deeply on social absurdities. How do you ensure this balance resonates universally without losing its edge?
A: I partially approach painting by focusing on tension, by exploring couples of dialectics and gaps between antitheses. I’m looking for balance, so for a spectrum like contestation / laughter, I believe that the perfect equilibrium would lie within a burlesque, clownish approach which has the power to enhance both aspects – that does not always provoke laughter, but also embarrassment, misunderstanding, and surprise. Those, to me, are the few driving forces that can initiate real deep questioning within the spectator.
Q: Finally, what advice would you give to emerging artists striving to create work that is both thought-provoking and accessible?
A: I would advise them – especially if they’re about the same age as I am – to log out from the Internet for a while to start reading intensely. Social Media paralyzes us. So many people, including artists, are trapped into that individualist and ego-feeder system where all that matters is the amount of likes that one might get. To produce art that holds power, it’s necessary to maintain distance from those technologies while simultaneously feeding your head thoughtfully. Have a lot of discipline with that! You might undoubtedly overcome a lot of fears by doing it and will surely create enough space within you to extract what needs to be extracted, in the most unapologetic way. That itself is art.
In conclusion, Leah’s journey is a testament to the power of introspection, humor, and tradition in navigating the complexities of modern life. Her work challenges audiences to laugh, question, and reflect, offering a refreshing and much-needed perspective in today’s art world. Through her mastery of technique and critical engagement with contemporary themes, Leah invites us all to see the world—and ourselves—with newfound clarity.
To see more of Leah de Oliveira's incredible work and stay updated on her latest projects, be sure to follow her on Instagram !
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