
Leo Pasquale (1957)
- ABOUT
- EXHIBITIONS
- BOOKS PUBLISHED
- WORKS
- EDUCATION
“Multiplicity of themes and technical styles is one of the salient features of his art. Some themes seem to be expressive of his personal life experiences while some signify the socio-political realities of the time. Technically he uses methods that are possible only in the computer and digital age, and in a large group of his work the geometrical approach is used meaningfully. For him, not only colour and shade but also shape seem to be of great use, and simplicity seems to be the key.” – Dr. Michael Fernando
Leo Pasquale was born in 1957 in Colombo, Sri Lanka. During his early years he did art on his own, experimenting with various styles. In the early 1980s he studied computer programming and systems design at the National Institute of Business Management. In the 1990s he obtained a BFA in painting at Pratt Institute in New York, where he graduated with highest honors and was given the Pratt Circle Award for Outstanding Academic Achievement. He later worked at the Foutouhi Cramer Gallery in New Yok City, and as part of a private installation team at several galleries, including the Leo Castelli Gallery, The New Museum and Max Protect Gallery. In 2001 he returned to Sri Lanka and has been based in Colombo. He taught at the Vibhavi Academy of Fine Arts and the Academy of Design, and as a private instructor.
His work cannot be characterized under a single style definition; they are informed by Cubism, Constructivism and Minimalism. He incorporates geometric, abstract patterns that are geared toward creating awareness about important social issues. The intermingling of these different and complementary styles makes his artistry unique, and each painting is a journey that allows his audience to grow, facilitated by contemplation and relatable creativity.
His body of work entitled Censorship, created for the Colombo Art Biennale 2012, often uses only black and white. Juxtaposing the work “The Participant,” of single character, with “The Observers,” consisting of multiple characters with multiple narratives, he highlights the manner in which censorship comes into play. Simplicity is key, as both paintings demonstrate censorship as a necessary giant in the world of art, equipped with the power to destroy multiple narratives of observers with the acceptance of a single limiting interpretation. The work entitled “Self-censorship” is a neutral grey painting with vertical white lines, with the title included in Braille. The sole sculptural offering in this collection is a dismantled and reconfigured chair, entitled “You Cannot Sit on Me Anymore,” to emphasize the necessity to retain the freedom to choose one’s attitude to conditions, even beyond one’s ability to influence them. Accessibility of art and the manner in which people self-censor the art they are privy to is one of the main themes. His works in Censorship engender deep reflection on society and its approach towards art as a discipline.
Name of Exhibition | Year | Place |
---|---|---|
2D3D | 2014 | Gallery g, The Art Corridor, Taj West End Hotel, Bangalore, India |
Crossroads | 2013 | The Fort Printers, Galle, Sri Lanka |
Colombo Art Biennale | 2012 | Colombo, Sri Lanka |
Vibhavi Faculty Show | 2003 | Lionel Wendt Art Gallery, Colombo, Sri Lanka |
19th Annual Student Exhibition | 1995 | The National Arts Club, New York, USA |
Solo Exhibition | 1988 | DC Space, Washington DC, USA |
Group Exhibition | 1980 | Lionel Wendt Art Gallery, Colombo, Sri Lanka |
Year | Institute | Qualification |
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1992-1996 | Pratt Institute, Brooklyn, New York, USA | BFA in Painting |
1993 | Art Students League, New York, USA | Summer Program |
1981-1982 | National Institute of Business Management, Colombo, Sri Lanka | Diploma in Computer Programming and Systems Design |