“The natural landscape is central to my art.”
Bronte Leighton-Dore depicts nature under various guises, from the quickly worked plein-air paintings that reveal trees and foliage, alive, moving in the wind, to the memories of flora as still life paintings portrayed in her apartment, flowers in vases bathed in light.
Ahead of her upcoming exhibition this April at Martin Browne Contemporary, Sydney, Art Almanac speaks to Leighton-Dore about the studio residencies that took her out of the city and into the environment she evocatively captures.
Bronte Leighton-Dore in the studio. Photograph: Greg Shelby. Courtesy the artist
Can you tell us more about your studio?
My studio is in Barragga Bay, just outside Bermagui on the NSW South Coast. It’s a small, beautiful space nestled among spotted gums, native grasses and burrawangs, and is only a short walk to the ocean. There’s quite a bit of natural light, but with shade from the tree canopy. It’s just me at the studio and the wildlife that visits – last week, a goanna and a pair of lyrebirds walked by. In the studio, I have some of the objects that feature in my still life paintings, such as different mugs and vases. It’s a pretty simple space, but it’s very peaceful.
I’d love to hear more about which mediums you use and why?
I tend to work in oil and gouache. Typically, I use oil in the studio and gouache for plein-air painting. I’m attracted to the rich pigment of oil paint, and its connection to a lineage of artists. I like gouache because of its ease of transportation, colour mixing, and its beautiful matte finish. I approach the use of all mediums, whether painting or drawing, in a strong and direct way, with a similar emphasis on immediacy.
Bronte Leighton-Dore, Holding Blue, Banksia Bluff, 2023, oil on board, 166 × 122cm. Photograph: Greg Shelby. Courtesy the artist
How does the landscape feed into your practice? And as a juxtaposition, still life?
The natural landscape is central to my art. The bushland and ocean are where I go to reconnect with nature and ground myself. It has a calming effect on my mind and body. It’s in the natural landscape that I bring paper and paints and set up to capture an essence of what’s arising in the moment. For me, this means tuning into the internal sensory world of the body as well as the environment. These studies are then brought back to the studio to further explore in oil. My still life practice is similar, arranging objects and flowers with an attempt to be present and to capture the transitory beauty of the light.
Can you tell me more about your residencies and how they inspire your artworks?
I’ve been on multiple residencies over the years. Most came about through offers from friends and family or were set up with friends. I’ve had residencies in Mullumbimby, Broken Hill, Mangrove Mountain, Berambing, and the Southern Highlands. My most recent residency is at Gang Gang on the South Coast. These residences are vital for invigorating my practice and inspiring new work through the joy of travel and engaging with a new environment.
Bronte Leighton-Dore, Moruya Honey and Cuttagee Salt, 2023, oil on board, 30 × 24.5cm Photograph: Greg Shelby. Courtesy the artist
What can we expect from your upcoming show at Martin Browne Contemporary?
I’ve painted a series of large landscapes for the show at Martin Browne, along with a series of smaller intimate still life paintings. These works will express the joy and my connection with my time on the South Coast.
bronteleightondore.com.au
@bronteleightondore
Emma-Kate Wilson is an art and design writer and editor based on Gumbaynggirr Country (Bellingen, NSW).
Originally published in Art Almanac’s March 2023 print issue.
