Lesley Luce Art

Lesley Luce Art Canadian Artist 🇨🇦 "It’s important for me that my audience is captivated from afar and intrigued up close. I want my art to reward those who are curious."

02/07/2026

The thing that surprises me most about doing what I love?
Is how often I want to quit.

This is what it’s like being a Canadian mixed media artist who came to this later in life, with no formal path... or honestly really even a plan!

It’s vulnerable. It’s beautiful. It’s absurd.
And when it starts to feel easy? That’s when my brain panics.
But I’m learning: ease doesn’t mean fraud. It means arrival.

01/19/2026

The mic cut out.
But the vibes remained.

I was talking about The Educated Imagination; a book that cracked open my brain in high school and still echoes in my work today.
This new piece is named after it.
Built from fragments of Canadian literature and marginalia, it’s part memory, part map, part nerdy love letter.

And yes, I did deliver a dramatic punchline.
And no, we’ll never know what it was.

01/09/2026

“Ronald,” said Elizabeth, “you are a BUM!”

This is my new artwork from my “The Educated Imagination” series, and of course, it includes Robert Munsch’s The Paper Bag Princess.

Written in 1980. Still hits.

Princess Elizabeth loses her castle, her clothes, her comfort. She outsmarts a dragon in a paper bag dress. And then (my favourite part) she walks away from the prince who can’t see her worth.

It’s not a rescue story.
It’s a reclamation.
It’s about choosing yourself when convention says don’t.

“A Room of One’s Own, Composition 0317” is my layered exploration of creativity and the lives of female artists, past an...
01/05/2026

“A Room of One’s Own, Composition 0317” is my layered exploration of creativity and the lives of female artists, past and present. Made of thousands of hand-placed paper fragments, the work reflects on what it means to carve out space for creative expression.

The circles weave together art history, literature, and personal memory, from Virginia Woolf and the Guerrilla Girls to Barbie. Each ring speaks to the tension between domestic life and artistic ambition, and the long history of women claiming freedom on their own terms.

In shades of blue with yellow accents, the center image nods to Canadian Impressionist Helen McNicoll’s Chintz Sofa, a quiet reminder of solitude, focus, and the power of uninterrupted work. From afar, the piece looks abstract, but up close, hidden fragments and stories begin to appear.

What makes a country a country? Who gets to decide?Mark of a Nation explores Canada’s evolving sovereignty through the q...
12/31/2025

What makes a country a country? Who gets to decide?

Mark of a Nation explores Canada’s evolving sovereignty through the quiet power of postage stamps. Each one is a micro-artifact, evidence of independence, protest, pride, propaganda, and memory.

I built this piece from stamps in my personal collection, layering them in concentric circles like an archival ripple. From a distance, it’s bold and abstract. Up close, it’s a dense record of shifting identity, what we’ve chosen to commemorate, and what still asks for deeper reflection.

This one’s about how nations define themselves. And redefine. And try again.

12/27/2025

Why is there a banana in the artwork?
Who knows. But it felt right at the time.

Every piece I make comes with a handmade mini book, part archive, part decoder ring. It shows the fragments I used, where they came from, and why they ended up in the work.

Except the banana.
That one remains unexplained. Mysterious. Iconic.

Handmaids and hockey sweaters. Paper Bag Princesses and Green Gables. Orange Juice and Gordon Korman. 📚 My work “Educate...
12/19/2025

Handmaids and hockey sweaters. Paper Bag Princesses and Green Gables. Orange Juice and Gordon Korman. đź“š

My work “Educated Imagination” is a deep cut of Canadian books, authors, and cultural stories that raised me... and maybe you too.

Every circle in this piece is built from fragments of cover art, illustrations, first editions, and required reading lists. It’s a love letter to our literary canon and all the contradictions it holds: nostalgia and critique, comfort and complexity, what we’re proud to remember and what we need to reexamine.

12/18/2025

How a group of scrappy Canadian women turned $6,000 into $80 million.

In 1966, while the AGO was still focused on European masters, the Women’s Committee **led by the fabulous Jeanne Parkin** decided the future of art was happening in New York. They wrote to Warhol’s dealer, Leo Castelli, and pooled every penny they had: $6,000.

They used it to buy Elvis I & II, by a mostly unknown artist named Andy Warhol, who had only been in two group shows at the time. Some members hated Pop Art, called it tacky, loud, and not real art. But the younger women pushed back “You’ve got to get with it.”

Thank god they did. Today, that piece anchors the AGO’s postmodern collection. And in 2014, a similar Triple Elvis sold for $81.9 million.

Talk about a return on investment.

12/18/2025

Just a middle-aged artist mom with an Instagram account, chasing curiosity one paper fragment (and one follower) at a time.

No grand strategy. No viral dreams. Just a quiet, stubborn commitment to showing up—and gluing things down.

12/18/2025

Canada basically has one road. The Trans-Canada Highway. Eight thousand kilometres of construction cones, Tims cups, and people named Gary doing 90 in the left lane.

It connects all the provinces and even Prince Edward Island by bridge — but not the North, because apparently we stopped caring after Manitoba.

I used the 1962 Trans-Canada Highway stamp in my Mark of a Nation series to celebrate the road that somehow holds this country together. One road. Infinite potholes.

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Toronto, ON

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