« Crossings »


Magali Leonard

Walter Wickiser Gallery


Artists have long found the window a compelling motif—as a barrier to or opening on reality or exterior worlds. Not only for its symbolic associations but also for its formal properties, the window has been adopted by painters from Johannes Vermeer to David Hockney as an effective compositional device that extends the picture’s domain. French painter Magali Leonard makes use of the age-old artist’s tool in her “Crossing” series. Her approach, however, differs in that the vision she depicts through the aperture is not a static image, but a shifting one. These dynamic and luminous acrylic paintings evolved from Leonard’s continuous viewing experience from the window of a moving train as it powered west from Chicago to San Francisco.

The impetus for the series aligns with Leonard’s practice, her devotion to exploring the relations—or “crossing”—between space, light, and color. In doing so, her canvases impart a distinct sense of flux—of appearing and disappearing, emerging and rescinding, drifting in and wafting out. They speak at once of primordial echoes and apocalyptic ruins. Like a Turner watercolor or Japanese scroll, they are sublime visions identifying human potential in nature’s grandeur and boundless landscapes.

To be sure, viewers are apt to see distinct topographic imagery in the melding forms, reinforced by their earthy ochre and watery blue tones. It is hard, for example, not to equate foaming waves and a bleeding sun or willowy reeds and a heavy cloud with the drips, blots, and splatters that describe the panels of Crossing 2. In these paintings, Leonard re-envisions reality as abstraction, espousing many of the methods and ideologies of the Abstract Expressionists. Like Jackson Pollock, Leonard tackles her canvas with the force of her full body by placing it on the floor and working from all four sides, uncommitted to a singular viewpoint and dedicated to the consistent, all-over treatment of its surface.

But within the abstract canon, it is the Color Field painters with whom she shares the strongest affinity, not only through her conflation of figure and ground but by her technique in which she applies paint to canvas. By pouring and often diluting her pigments, Leonard creates veils of color that, as she puts it, “stir up” the space, alternately opaque and transparent, soaking into the surface and gliding across it. The disparate densities that result reflect the intrinsic variations of color and matter and infuse the imagery with great vitality. While in Crossing 1 the energy is nearly explosive, suggesting sprays of water crashing against rocks, the pervasive atmosphere in these works is more serene, an ephemeral dreaminess evoked by floating forms and blending hues. By presenting her paintings in adjoining panels, Leonard reinforces a sense of spatial continuity.

The view through the window, now moving, has become unrestricted, transforming physical grandeur into a spiritual one.

Deidre S.GREBEN  September 2007 independent critic New York city ( catalog « Crossings » Walter wicker Gallery December 2017


Traduction  du texte de Deidre S.Greben  critque indépendante  paru dans le catalogue « Crossings » Exposition  2017

Galerie W.Wickiser  Chelsea  11eme avenue  New York décembre 2017

Les artistes ont longtemps trouvé en la fenêtre un motif captivant- comme barrière ou ouverture sur la réalité ou sur le monde extèrieur. Pas seulement pour ses associations symboliques mais aussi pour ses propriétés formelles, la fenêtre a été adoptée par les peintres de Johannes Vermeer à David Hockney comme un dispositif  efficace de composition qui étend le domaine de l’image. La peintre française Magali Leonard utilise ce vieil outil dans  sa série des “ traversées”. Son approche diffère cependant dans le fait que la vision qu’elle dépeint à travers l’ouverture n’est pas une image statique mais qui se déplace. Ces dynamiques et lumineuses peintures acryliques se déroulent, issue de l’expérience visuelle continue de Leonard depuis la fenêtre d’un train qui permet d’aller vers l’ouest de Chicago à San Francisco.

Par l’élan de sa pratique Leonard dans ses séries  fait coïncider son attachement à explorer les relations – de “traverser ” – entre espace, lumière et couleur. En faisant cela, ses toiles transmettent une nette sensation de flux — d’apparition et de disparition, d’émergence et d’effacement…entre trait et retrait


Elles parlent d’abord d’un echo originel  et d’apocalyptiques ruines. Comme les aquarelles de Turner ou des rouleaux japonais, elles sont de sublimes visions identifiant le potentiel humain dans la grandeur de la nature et paysages illimités.


On est sur de voir apparaître des images , une topologie  dans des formes fondues, renforcées  par les ocres terriennes et les tons bleus d’eau. Ce n’est pas dur  d’apporter la distinction de vagues écumeuses et saignement du soleil ou d’un roseau élancé et un nuage lourd par des  gouttes, des taches et éclaboussures que décrivent les pans de “Crossing 2”. Dans ces peintures, Leonard, envisage la réalité comme abstraction, embrassant les méthodes  et la pensée  des expressionnistes abstraits. Comme Jackson Pollock , Leonard attaque ses toiles avec la force de tout son corps en les mettant au sol et en les travaillant sur les 4 cotés , non lié à un seul point de vue et engagé par conséquence dans un traitement all-over de la surface.

Mais au sein de cette approche abstraite , c’est avec les peintres du Color- Field qu’elle partage la plus grande affinité, pas seulement à travers sa fusion de figure et de la terre mais par sa technique qu’elle met en acte pour peindre ses toiles. En versant et en diluant  parfois ses pigments, Leonard crée des voiles de couleur comme si elle faisait bouger l’espace, en alternance opaque ou transparent, les laissant tremper et s’imprégner au travers de la toile. Les densités différentes dont résultent  d’intrinsèques variations de couleurs et matière insufflent  une image  avec grande vitalité. Pendant que dans “Crossing 1” l’énergie est proche de l’explosion, suggérant des jets d’eau allant s’écraser contre des rocs, . L’ envahissante atmosphère dans ces  travaux est plus sereine, l’éphémère , comme dans un rêve, évoqué par des formes flottantes et nuancées. En présentant ses peintures en jonction de pans alignés, Leonard renforce le sens de la continuité spatiale.

La vue au travers de la fenêtre, maintenant en mouvement ne restreint pas , transforme la grandeur physique en une grandeur spirituelle.



The Absorption of the real

From paper to canvas, a photograph becomes a painting.

Her works portray a new way of perceiving the world; a world of open spaces, continuous and illuminated movements, where black and white give way to colour, allowing the tangible to etch itself into the background.


Physically acting out her body’s inner impulses, her arm gestures fluid and free, she spontaneously projects and releases the paint from above as she circles the canvas. This pictorial choreography distances her from the all-over technique that occupies the entire surface of the composition.


In unctuous fluidity, the liquid colours escape onto the canvas and, in places, perspire.

Reserve areas, born of the unpredictable, appear as light. Appearing spontaneously, these luminous haloes in shades of white create a palatable tension between the spaces.

These recurrent halos appear in moments of intense creation. They are the reflection of the act itself, of its origins,” explains Magali.

The creative act, the original source, cosmic and initiator of life, constitutes the research theme developed in her “Cosmogonies” Series, in search of the creative elements; fire, earth, water, air…


Air and the dynamics of breathing are a common thread.

A new breath is taken in the “Opening” Series, where an opening, made by a circular gesture, holds the echo of a line between mastery and contingency.

If it were music, it would be the sound of a gong,” she explains.

The almost instrumental atmosphere is received by the viewer as a sensory experience.

Gesture and colour resonate in curved beginnings; colourful, radiant and never closed.

This gestural and marked engagement with the canvas is felt in the very fibre of the painting. Like the Japanese calligrapher, Magali Léonard works in rapid, flowing motions to capture the moment.


Circular gestures lead her towards line. “Crossings” recalls the artist’s express journey by train across America, from New York to San Francisco.

Echoing this spatial continuity, a series of independent and adjoining panels, which intercommunicate, are brought together. This connection forms a whole amounting to more than the sum of its parts. These mental landscapes are the vehicle of a fragmented universe; a succession of atmospheres capable of exposing a point of view.

My painting is the idea of presence in the world.”

Executed in the moment, each unique piece of “Crossings” creates a distinct mood; a suspended pause in time that invites interpretation.


Like a return to photographic sources, her latest works are a coloured rendition of her photos. They are based on a black and white photo of a large feather, chosen for its tricoloured appearance.

This flag brought by nature is a wonderful sight that I could not fail to notice.”

On Velin d’Arches paper, a thick and absorbent medium, the photo of the feather is integrated and enlarged on a greater scale in order to fit its new support. With her tools, she intervenes, paints, scrapes and builds with what has emerged. The feather becomes a pretence and blends into the image in resplendent harmony. A myriad of traces are left behind, full of the memory of the original feather, no longer apparent. The three stripes of the feather disappear and are cast into the dominant tricolour tones of the canvas. The combination of colours creates impressions of depth and relief. In this visual absorption, the artist re-envisions reality in an abstract form.


Through her constant movement, Magali Léonard seizes the moment. In the curiosity of an Elsewhere, able to reveal itself at each glance, her works are an invitation to grasp the evanescence of pictorial art.


Canoline Critiks.2017


                                                       2017 May       Canoline CRITIKS


Magali Leonard, Fugitive Feathers

Every morning, the artist walks near an ornithological center in the Woods of Vincennes.

This rendezvous in communion with nature is a meditative and creative approach that allows her to reveal, through her photography, the transient passages on our landscape in a series entitled “The Sphere of Birds”.

With an ethereal realism, she takes note of curious anomalies, zooms in on tiny movements between sky and earth.  Magali Leonard photographs in the moment, without staging, feathers of swans and other birds, which she happens to come across. The feather is an apparition which becomes the anchor, the aesthetic mark of the artist’s delicate, fleeting and aerial vision of nature.

The down of the feather is highlighted when exploring this world of black and white. This texture effect, without retouching or filters, focuses on the fold of white and that of light; themes that are dear to the artist.

Shadow and light, death and life, are at the fringes of the disturbing strangeness evoked by Freud, where the beautiful and the shapeless, the void and the full, the domestic and the foreign converse.

A torn wing reveals this balance of forces. The dramatic tension slides from the overall picture to the smaller details, which give meaning to the seemingly insignificant. A drop of rainwater, frost, a fly… are among the many details that draw the eye.  From left to right, our gaze advances then turns back to probe the nature of the visible space more closely.  This oscillation creates a distance from reality; between the possibilities of recognition and fictional associations.

“The Sphere of Birds” is presented on a roll of canvas, 8-meters long, resembling photographic film in large format.  With neither beginning nor end, one is free to move around this imposing structure. Part of the work has been voluntarily left unrolled, hidden from the spectator, still to become. We are invited to imagine and “develop” the end of the film for ourselves.  Five columns of photographs printed on aluminum accompany the rolled canvas.

In skillfully planned continuity, the ensemble’s dynamics reveal the afterimage.  The feathers are in motion, always different, never captured in the same place. Under our gaze, each has a story to tell. They stir our senses in an exhibition space, the perfect backdrop for the further expansion and unfolding of their ever-changing tales.  From one reality to another, though the passage of sight and touch, they lead us into a shared space.

Fugitive and almost dreamlike, Magali Leonard’s photographs generate the vague sensation of being in the presence of an elusive phenomenon. They provoke visual experiences with a fundamental link to Space and Time, with loss of reference as the central notion.

One is free to wander and lose oneself, cultivate one’s own interpretations, to follow the trace of a hidden meaning, while contemplating these natural, beautiful, enigmatic and poetic scenes.


Canoline Critiks


2017 May       Canoline CRITIKS



Mes traversées sont issues d’un parcours effectué en train de Chicago à San Francisco . Ce fut un trajet sans arrêt d’un bout à l’autre , d’Est en Ouest , du continent américain . Jai donc suivi cette immense étendue , ancrée à une fenêtre mobile.
Ce fut une façon de vivre en continuité un espace immense dans une sorte d’ engagement lent prise dans l’ action de traverser.
Ce glissement du plan spatial au plan temporal je le cherche aussi dans ce cycle de mes peintures que je nomme TRAVERSEE
Au delà de ce que j’ai vu
Au delà de ces fabuleux paysages
Au delà de la façon dont la nature nous saisit de ses qualités sensibles ; je ne fixe pas de représentations , ne pose pas de descriptions
Qu’est ce qui nous meut? Nous fait-bouger ? nous entraine ou nous pousse ?
Là où l’espace dépasse l’entendement , là où on ne mesure pas , là où tout se modifie sans cesse je situe ma peinture.
Pas de formes fixes dans mes couleurs prises en flux mouvants , le “flottage” des limites y devient possible. L’eau y excède , tout attend et pousse les pigments : la matière inerte prend vie.

Quelquechose se développe et mes pans se donnent en un ensemble continu.
Avec quelle saisie? Quelle liaison? Ils se combinent. , se complètent .
Cette expression de Monet me parle “un tout sans fin comme un horizon sans rivage”
Rien d’une métaphore
Tout d’une respiration , d’un souffle
Surtout ouvrir sur une vibration mes espaces dans un processus de lumière.

Quelquechose se passe , quelquechose surgit, une intuition peut-être…
Et la pensée émerge non en concept, plutôt en ressenti .
Mes “traversées” seraient peut-être là où la réalité excède la conscience comme Merleau Ponty le montre dans le visible et l’invisible ; quand la conscience ne peut pas reconstituer la réalité quand on se fond dans l’univers alors peut-être
au delà de ce que l’on voit à la surface des choses pour parfois aller dans la profondeur qu’est le regard
Ou comme s’il ne s’agissait plus de surfaces, de plans, d’horizons d’espaces traversés mais d’un monde feuilleté non historique non linéaire où le prèsent peut disparaitre à chaque instant dans le futur et s’immerge dans le passé.
En apportant du poétique: “Il y aura toujours l’eau le vent la lumière
Rien ne passe après tout si ce n’est le passant” dit Aragon
A l’acceuil de toutes nos Traversées dans des espaces ouverts pour que les choses puissent toujours advenir…

Magali Leonard Août 2016

“Crossings” was born during a train trip from Chicago to San Francisco; a non-stop voyage across the American Continent from East to West. Thus I experienced the flow of this immense space through a window in motion.
It was a deliberate manner of experiencing – in continuity – a vast space, engaging slowly in its crossing
This transition between Space and Time is also what I seek to capture in this series of paintings that I have named CROSSINGS.
Beyond what I saw,
Beyond the fabulous landscapes,
Beyond nature’spower to grip us with its sensible qualities
I portray no representations, no descriptions.
What move us? What attracts us? What pushes us?
Where Space exceeds Meaning, where we cease to Measure, where all is in constant transformation; it is there my paintings exist.
Devoid of fixed forms, they capture colours in the flux of movement and enable “floating” limits. Water reaches beyond, pushes the waiting pigments into motion and brings life to inert material
Born out of this process are panels that form a continuous unity.
How are they linked? How are they related? They complement each other, they complete each other.
An expression from Monet resonates with me: “A whole without an end, like a horizon without a shore”.
This is far from being a metaphor.
It’s about breathing in, breathing out…
Above all, it is about being open to feeling the vibration of space within plays of light?
Something takes place, appears suddenly; intuition perhaps…
Thought emerges not as concept but as feeling.

“Crossings” could perhaps be said to exist where Reality exceeds Consciousness, as shown by Merleau Ponty in “The Visible and Invisible”; when consciousness cannot reconstruct reality; when we dissolve into the universe, sometimes going beyond what we see on the surface and thus achieving true depth of vision.
As if it were no longer a question of surface, planes, horizons of spaces crossed, but a layered world with no history or linearity. Where, at any given moment, the present disappears into the future and submerges itself into the past
To finish with a poetic touch:
There will always will be the water, the wind, the light.
After all, nothing passes away but the passer by.
Louis Aragon
A warm welcome to all of our Crossings, through open spaces, so that something can always happen.

Magali Leonard Août 2016

NOVA  gallery – Osaka–28 mars -9 avril 2016

“ DUO”Exhibition

My paintings are not in resonance with mountains, flowers, or all that is present in nature but with the very matter from which these elements are composed. I don’t want to represent.

Earth, water and air are essential.

I capture, I catch that which appears suddenly in the colours of my pigments.

My natural pigments come from the south of France, in particular the red earthen colours of Roussillon.

White becomes empty space, open space, light. Black its complementary force.

I always strive for the spontaneous execution of a work, which takes place in the act of the moment, without retouches, as in the art of calligraphy.

In my DUO ,two independent and self-sufficient panels, the works exist in relation to each other and in response to each other, forming a unity, a totality.

In my painting, the idea of connection is essential. It would be like an energy common to all beings creating a universal link between them.


Magali Leonard   2016 march




Magali Léonard was born in Provence in the south of France  where she lived on a farm until age 15. At 21, she moved to Paris to pursue her interest in art, intensively visiting museums and exhibitions. Between ages 18 and 21, Léonard worked as teacher with young children. She studied etching, painted in an artist’s studio in Antibes, and learned to sculpt in wood and stone. In 1985, she began her studies in visual art at the Sorbonne in Paris.

Léonard studied art practice and theory, art history, and the philosophy and sociology of art, receiving a degree in fine art in 1992, and a master’s degree in 1992. For the latter, her research topic was le pli or the fold, as an expression of dynamic space, metamorphosis, and impermanence. Among the artist she related to this concept were Richard Serra, Sam Gilliam, and Simon Hantai. The fold as light and rhythmic bodily movement was embodied in Léonard’s own sculptural work employing wood frames and wave-like elements in paper or clay.

In 1996, the artist received her DEA degree, with her research topic Du Trait au Retrait or Erasure of the Trace, exploring the concept of transformation. Philosophers that were important to her study include Levinas, Jankelevitch, François Cheng , Henri Maldiney and Didi-Huberman. Among the she artists cites as influential include Michaux, Pollock, and Rothko. Léonard taught in a national art college in France for 14 years.

In 2000, Léonard began working with « body-writing », created by painting a part of the body and transferring its impression via off-printing to a sheet of paper, a kind of physical calligraphy. Also in that year, she studied Japanese in Kyoto, and returned two years later to Osaka to have her first solo exhibition. After an accident in 2004, Léonard found it difficult to work with her body directly on paper, so in the following two years she work photographically. In 2007, fragments of the photos became incorporated in the paintings as figurative elements, in a new approach to space.

2007 also marked the beginning of Léonard’s work with space and light on canvas. In 2009, she started the Cosmogonie series, paintings in which she used color fluidly and with sense of bodily movement. In the Cosmogonie paintings, Léonard was able to realize the sense of perpetual change that she had explored during her university studies. From 2008-11, her paintings’ indeterminate, all-over space evoked the primal elements of earth, air, fire, and water. Léonard has said of her painting process, “it is impossible to plan the liquid flow of colors… its energy flows at the moment of creation according to the creative force behind it.”

Léonard’s solo exhibitions include Pekin, Roccia Gallery, Montreal; Plastic Arts Center Albert Chamot, Clamart, France; EMKA Gallery, Paris; and Armanedo Gallery and Nova Gallery, both Osaka. Group exhibtions include those at Gora Gallery, Montreal; Contemporary Japanese Kakemono, Paris; and Walter Wickiser Gallery, New York.

Openings: Worlds of Transparency and Flux

Magali Leonard’s “Openings” series of acrylic paintings are invitations. They propel us into pictorial universes in which the beholder is beckoned and beseeched to bear witness. In experiencing the artist’s surfaces, her markings and ovoid shapes, what we sense and feel is flux, the very nature of beholding and of becoming, at once anticipated and then withdrawn. The principle that underpins Leonard’s apparent fealty to exploring the dialectical fluctuations of appearance and dis-appearance, of integration and dis-integration, of ceasings and beginnings in her work is the principle of revelation. Leonard also skillfully pours her pigments to create veils of colors to, in her words, “stir and wake up the space and spacings of light” that permeate each painting. Transparency and opacity, through pouring, are mixed and matched by the artist, coloristically, to convey the presence of prima materia—the formative elemental condition leading to alchemical alteration, change, and ultimately, transformation.

In Opening 8 (2011), Leonard creates an explosive dynamic field of interactive marks and forms that excite, mystify, and delight the eye in equal measure. Leonard’s palette is unforgettable: she selects a wide range of ochers, yellows, and oranges to suggest radiant light in some areas of the canvas, while suggesting volcanic and subterranean terrains in others. The artist builds upon the advances of pioneer American color field painter Helen Frankenthaler, as well as those of Morris Louis and Clyfford Still, to create supercharged color-soaked and color streaked surfaces that compete for the eye’s attention in an all-over manner.

Vitality and vibrancy permeates Opening 8. Leonard uses her natural acrylic pigments as dynamic agents in their own right; pouring them on her pictorial surfaces, some of these colors are allowed to soak into the canvas, while others build up in thicker consistencies, and still others manifest in the form of rivulets, splatters and dribbles. The composition consists of different coloristic scenarios where shapes and marks seem to erupt naturally from within, like emerging fields of energies spreading beyond the edges of the canvas.

Such a promise of transformation is manifest in, for example, Opening 27 (2012). Leonard’s painterly pours are used to create the suggestion of a floating nighttime world, of moody coronas and lunar eclipses. Leonard applies—or perhaps “choreographs” is a better term—a spectrum of thin and thick washes in her paintings to suggest a fluid dynamic between “emptiness and fullness” a term used by the French art historian Francois Cheng to describe the aesthetic principle in play in classic Chinese painting.

In Leonard’s aesthetic vision, dynamic positive and negative spaces nestle and interchange within circular motifs, spheres and ovoid forms. These interactions, tinged with coloristic bravura if not ferocity, are tremulous with vitality. Their energies infer the realms of the natural and of the unnatural, of the earthly and of the cosmic. The results are painterly masterworks charged with resonant energy, drenched with transparency and flux.

-Dominique Nahas        2015  Walter Wickiser Gallery catalog

Dominique Nahas is an independent curator and critic based in Brooklyn.

Traduction texte de DOMINIQUE NAHAS catalogue 2015 “Openings : Mondes de transparences et de Flux” 

Les “Openings” de Magali Leonard sont des invitations. Elles vous proposent d’entrer dans un univers pictural dans lequel le regardeur est tenté et invité à témoigner. En parcourant les surfaces de l’artiste , ses marques et ses formes ovoÏdes ,ce que nous percevons et ressentons est un flux , (the very nature of beholding and of becoming? immédiatement le regardeur construit rigidifie)? Le principe qui est à la base de la quête de de Leonard est en dialectique , en fluctuation entre apparition et disparition, intégration et désintégration, origine et de revèlation. Avec habileté Leonard verse ses pigments qui imprègnent et chaque toile pour créer des voiles de couleurs et , de ses propres mots: “mettre en mouvement et revèler l’espace lumineux” . En transparence et en opacité , ses mélanges s’accordent par leurs couleurs pour transmettre la présence d’une matière originelle, élèment principal d’une technique d’altération , de changement et finalement de transformation.

Dans Opening 8 Leonard crée un champ explosif , dynamique de marques qui mystifient et  sont capables d’enchanter l’œil . La palette de Leonard est inoubliable . Elle sélectionne un large choix d’ocres , jaunes et oranges pour suggérer la lumière irradiante à certaines parties de la toile , suggérant un volcan et des tons terriens ailleurs . L’artiste construit sur les pas des pionniers du color Field  , d’Helen Frankenthaler , de Louis Morris et Still Clyfford, pour créer ses surfaces saturées et ses surfaces nues qui rivalisent pour l’oeil en approche all-over.

Vitalité et vibrations rivalisent dans Opening 8. Leonard utilise ses pigments naturels comme élèment en les versant sur sa surface picturale , quelques couleurs peuvent tremper la toile pendant que d’autres construisent en consistances épaisses , et d’autres encore se manifestent sous aspects de ruisselets , d’éclatements et de petites gouttes . La composition consiste en différents scénarios colorés ou les formes et les marques semblent surgir de l’intérieur comme des champs débordants  d’énergies par-delà les limites de la toiles .

Une  telle promesse de transformation se manifeste par exemple dans Opening 27(2012). Les déversages de couleurs  de Leonard sont utilisés pour créer du monde nocturne , flottant, d’effluves changeantes et d’éclipses lunaires . Les applications – ou plutôt les chorégraphies de Leonard , c’est un terme plus adapté-  un spectre de dilutions tenu ou épais dans les peintures pour suggérer un fluide dynamique entre “vide et plein” selon le  terme utilisé par l’historien français François Cheng pour décrire l’esthétique , le principe en jeu dans la peinture chinoise classique.

Dans la vision esthéthique de Leonard positifs et négatives , les  espaces feutrés y sont  interchangeables à l’intérieur des motifs circulaires des sphères et des formes ovoides . Ces interactions colorées avec vigueur si elles ne sont pas féroces sont frémissant  de  vitalité .Les énergies interfèrent le règne des choses naturelles et surnaturelles (est-ce l’idée???), terrienne et cosmique . Le résultat est  un travail de maître coloriste chargé d’énergie résonnante , imbibé de transparence et de flux.




My painting doesn’t stem from any deliberate thought, but from an energy, that is to say from an immediate, overcoming power; I’m dealing with power into action. It has nothing to do with mere representation or portrayal. Without any anecdote, nor any search for any technical skill display, my approach wants to get rid of aesthetic theory. It requires the magnitude of a life force.

My body in its entirety is involved in the wideness of its gestures, its rhythm that is sometimes similar to dancing ; my breath also takes an active part in the process.

Colour is a reality, and I have to control its fluidity all along this experience of movement in which I get involved with the canvas, whether it resists me or not. This meeting occurs both through  feelings and actions, like a clinch. While working right on the spot, at any moment of time, colour flow condense. I favour this energy force by which my gesture develops and organizes these spaces, which by this way come to light.

Spaces I wish to be indeterminate, that will give support to each gaze that will revive them.

Magali Leonard


Comme une danse libre avec la matère fluide, immergée dans le flux,  mon geste travaille ; l’espace est  saisi dans l’instant..

Ma création  est issue  de cette expérience de mise en éveil, d’engagement, de réceptivité dans une action sans entrave.

Like a free dance with fluid materials submerged in the flow, my gestures work; Space is captured   in the moment.

My creation is derived  from  the sense of  awakening , commitment to  reception through  unrestrained action

Magali Leonard

mars 2014


University  Paris1- Sorbonne

1991   Degree in « arts plastiques »

1992   Master in « arts plastiques »      « le pli »

1996   Diplôme degree under the supervision of director Lancri  to research  « du trait au retrait »

1997   Agrégation « Arts Plastiques »


2016 3月28日〜4月9日










28 mars -9 avril 2016 Exhibition »DUO » OSAKA NOVA Gallery

My paintings are not in resonance with mountains, flowers, or all that is present in nature but with the very matter from which these elements are composed. I don’t want to represent.

Earth, water and air are essential.

I capture, I catch that which appears suddenly in the colours of my pigments.

My natural pigments come from the south of France, in particular the red earthen colours of Roussillon.

White becomes empty space, open space, light. Black its complementary force.

I always strive for the spontaneous execution of a work, which takes place in the act of the moment, without retouches, as in the art of calligraphy.

In my DUO ,two independent and self-sufficient panels, the works exist in relation to each other and in response to each other, forming a unity, a totality.

In my painting, the idea of connection is essential. It would be like an energy common to all beings creating a universal link between them.

Magali Leonard 2016 march







パリ第一大学(ソルボンヌ)にて芸術学士(1991)、修士(1992)。1996年、ランクリ教授の指導でDEA論文『刻印と後退』Du Trait au Retraitを提出。1997年、芸術高等教授資格取得。パリ在住。


2001 展覧会De l’un aux multiples、アルベール・シャノ芸術センター(フランス、クラマール)

2004 「第三回現代芸術サロン」Construcción de un mejor futuro、クスカトラン公園国立展示室(エル・サルバドル、サン・サルバドル)

展覧会Jardins d’hivers, Jardins secrets、アルベール・シャノ芸術センター(クラマール)

2005 浜風の家(芦屋市)


2006 展覧会Jardins d’hivers, Jardins secrets、アルベール・シャノ芸術センター(クラマール)

2007 「日本の現代かけもの展」、エスパス・ル・スクリーブ=ラルマッタン(パリ)

2008 展覧会Couleurs de France et du Japon à Paris、エスパス・ル・スクリーブ=ラルマッタン(パリ)

2009 グループ展、ゴラ・ギャラリー(モントリオール)

展覧会Vibrations en Noirs & Blancs、クラマール美術協会(クラマール)

2010 展覧会Photographie de femme/Photographies de femmes、アルベール・シャノ芸術センター(クラマール)

2011 展覧会Non-objectivity、ウォルター・ウィッカイザー・ギャラリー(ニューヨーク)

2012 「芸術国際サロン」、ネール画廊(パリ)

2013 「第60回サロン」、エスパス・アール&リベルテ(フランス、シャラントン=ル=ポン)

展覧会Les minis du génie、AABギャラリー(パリ)

展覧会Les photographes du génie、パリ11区協会会館

展覧会En mouvement (In Bewegung)、ウィーン・フランス会館

展覧会Même pas mal !、バスティーユ・デザイン・センター(パリ)

展覧会Gallery Artists Part X、ウォルター・ウィッカイザー・ギャラリー(ニューヨーク)

2014 展覧会Tout feu tout flammes, Artistes à la Bastille、AABギャラリー(パリ)

展覧会Les minis du génie、バスティーユ芸術家画廊(パリ)

展覧会Utopia in progress, Le Génie de la Bastille, 芸術国際都市(パリ)

2015 展覧会Chroniques, Artistes à la Bastille、バスティーユ・デザイン・センター(パリ)

展覧会Génie de la Bastille invité、アルティブラック・ギャラリー(デン・ハーグ)



2004 ギャラリーNOVA自由空間(大阪市)

2006 ボック・ド・ボエム(パリ)

2007 アトリエ・ポルト・ウヴェルト(クラマール)

2008 アトリエ・ポルト・ウヴェルト(クラマール)


2009 アンカ・ギャラリー(パリ)

2010 アトリエ・ポルト・ウヴェルト(クラマール)



2011 ロッキア・ギャラリー(モントリオール)

2012 ベゴ=エゼア・ギャラリー (ニューヨーク)

2014 ギャラリー・ダブルS(パリ)

2015 798芸術区(北京)



2018 OPENINGS  :worlds of flux and transparency , « génie de la Bastille Gallery », rue de charonne , PARIS

2017 CROSSINGS Traversées Walter Wickiser Gallery , 210 Eleventh Avenue New York , Chelsea

2016 TRAVERSEE, CROSSING  » Génie de la Bastille »Gallery , rue Charonne PARIS

2016 Duo , Nova Gallery Osaka Japan

2015 Openings : worlds of transparency and Flux , W.Wickiser Gallery New York 10001

2014 Cosmogonies - Contemporary art center 798, 58 art gallery, Beijing, China

2014 Galerie Double S  Paris st Germain 75006

2011   French guest to the Roccia Gallery, Montreal, Canada

2010   Arts visual  Center Albert Chanot, Clamart, France

Workshops : open doors, Tourist Information Centre, Clamart, France

2009   EMKA  Gallery, Paris

2008   Amanado  Gallery, Osaka, Japan

Workshop : open doors, Clamart, France

2007   Workshop : open door, Clamart, France

2006   « Bock de Bohême » Paris, France

2004   Nova Gallery, Osaka, Japan


2018   Anjo  city Museum  JAPAN  Artec Art  association

« universal echo »   ST Martin space   Artec Art   association PARIS 75003

« Humanity Unity »   Artec art Association   3rd  district Council PARIS 45005

Texas Contemporary  Art fair , W.Wickiser Gallery , HOUSTON Texas


2017 « Epicentres », Bastille artist Group, Génie de la Bastille Gallery, Paris 75011

2016 « promenons nous dans le bois »"Walking in the wood » Bastiille artist Group , Commines space, Paris 75003

« Passerelle vers l’Empire du milieu »"1ere édition salon « Association Art Vision Monde » Paris

et « passerelle vers l’Empire du milieu  » PEKIN

2015 Exposition « Artibrak »invitation rencontre de l’association du Génie de la Bastille, Voorburg-la Haye Holland>

Exposition « Chroniques » Artistes à la Bastille Design Art center Paris 11ème

2014 Exposition « Utopia » génie de la bastille, cité internationale des arts, Paris

Exposition « Tout feu tout flammes »Artistes ala bastille, Galerie AAB, Paris

Exposition des artistes à la Bastille « Passworld » invités artistes mexicains  salle Olympe de Goujes Paris 11eme

2013    Exposition  «  part X »  Galerie Walter Wickiser  Chelsea New york

Exposition « Même pas mal ! »organisée par l’association artistes à la Bastlle Design center Paris 11éme

Exposition « En mouvement »/ »In bewegung »organisée par le  génie de la Bastille et l’associaton intackt Institut fraçais  Vienne ,  Autriche

Exposition « photographes du génie » Maison des associations du 11eme Paris

Exposition «  Les minis du génie » Galerie  des AAB ,  les Artistes de Belleville, Paris

60 ème salon   Espace arts et liberté  Charenton le pont

2012    Galerie Ezair_Bego  avenue Madison,   New York 10001

Salon AEAF  ,  galerie de Nesle, Paris 75006

2011     Walter WiCKISER gallery « Non objectivity » Chelsea New York

2010     Photographs of Woman / Photographs of women

Visual Arts Center Albert Chanot, Clamart, France

2009     Gora Gallery, Montreal, Canada

Permanent exhibition, Arte Bella Gallery

Exhibition : « vibrations white and black »

Fine arts society, Clamart

2008     Exhibition : « France’s colors and Japanese’s colors »

France-Japan meeting, Le scribe-l’harmattan space, Paris

Photography Festival : « Metamorphoses »

The Bassin de la Villette (The Villette Basin), Paris

Exhibition : « Surprises »

The Fine Arts Society, The White House’s garden, Clamart, France

2007     Contemponary Japanese  Kakemono, Paris

French guest

2006     Contemponary japanese Kakemono, Paris

French guest

2005     Hamazake Gallery Ashiya Japan

Nunokini Gallery Municipal Park, Kobe, Japan

2004     Third Fine Arts Exhibition Latin America –Japan

San Salvador, Salvador

French guest

Exhibition : « Winter gardens… Secret gardens »

Plastic Arts Centre Albert Chanot, Clamart, France

2001     Exhibition : « From the Unique to the Multiple »

Visual Arts Center Albert Chanot, Clamart, France