Patti Leino

Purple Route

Hi and welcome to my virtual studio! I’m a painter with an interest in all things northerly; my work uses painting’s formal languages to interpret notions of the north, particularly in this present era of human impact on fragile ecosystems. My practice also comprises drawing, writing, academic research, short films and sound recordings. My studio is in Wasps Kirkcudbright and I live on the edge of the Galloway Forest Park. The Galloway hills and forests inform a large part of my work.

Behind the Scenes
Click image to enlarge

About My Practice

As part of my art practice I do a fair amount of walking; Nan Shepherd’s ‘The Living Mountain’ was the origin of a recent PhD thesis and a decade of artwork based in Iceland and Finland, as well as closer to home. Artisically I’m influenced by contemporary or recent abstract painters such as Amy Sillman and Joan Mitchell, and by nordic art from Munch up to present-day Scandi painters. Scottish art is an influence too: William Gillies, Archie Sutter-Watt (who taught me) Joan Eardley, Bet Low, Margaret Tait and many others.

In both my workshops and in the studio, I want to bring art to meet contemporary understandings of the climate crisis, and contribute to the role of art in identifying and processing climate emotions. At a time when scientific facts can be too many and too overwhelming to take in, my work aims to have visual painterly appeal but also for the viewer to pick up on underlying ecological meanings and messages.

Tools & Materials

My studio group in Wasps is extremely friendly and supportive; I find it important to have an artistic community to chat with and keep you on your toes! After years of damp cold work spaces it’s wonderful to have a good-sized, centrally-heated studio. I use fairly traditional materials, watercolours, oil paints and canvas; I love the feel of canvas and the smell of linseed oil. I find oil painting lovely but so challenging; I don’t expect ever to master it or tire of it. I have hundreds of brushes, rags, scrapers, squeegees and other tools, and I often put the canvas on the floor or turn it upside-down, or put it away for months until I know better how to proceed.