Minna Leunig (she/her) is an Australian artist working on the lands of the Wathaurong people. Her acrylic on canvas works celebrate Australian flora and fauna, using texture and shape to appreciate the natural world. Her bold silhouettes feature on a number of murals in locations such as Brunswick, Tocumwul, Prahran and Bendigo. These works are loved by their communities and she is an inspiration to up and coming artists around the country. As a white woman on stolen land, Minna is transparent about the nature of her connection to the land; while it runs deep and inspires her art, it is superficial compared to that of the First Nations people.
Broadly, how did you become an artist?
I’ve always been creative, and growing up in a household where creativity was encouraged and celebrated put me in good stead to ‘become an artist’ (in the way that people think of) further down the track. There was a period in my early twenties where I somewhat rejected the idea of art as a path - it was so familiar to me, and I wanted to try a completely different way forward. At that stage I was at uni studying sociology and gender, and felt I’d be an intellectual of some kind. But in time I found my way back to mark making, as an enjoyable escape to begin with more than anything else, and slowly but surely it became the thing I wanted to do and the thing that I was doing. It was a gradual, natural progression.
Heat Shimmer, Minna Leunig
What is it about acrylic on canvas that you love?
Canvas is quite robust and forgiving - more than paper for instance. It holds the paint that I need it to (I paint very thick) and I can be a bit more carefree with it - put it in the back of the car if I’m half finished and want to paint somewhere else for instance. Acrylic just works for me and to be honest I haven’t spent a lot of time painting with oils, but the fumes really put me off. There are so many mediums one could work with, but canvas paintings have always appealed to me because I grew up with them on the walls and have always loved the idea of having art on the walls. I would love to explore sculpture at some point too.
A lot of your iconic pieces present distinctly Australian flora, fauna, and themes. What draws you towards this landscape? How does your current location in Wadawurrung country affect this?
I grew up in North East Victoria on a property that backed onto State forest, and during my earlier childhood and teenage years I had a lot of time and space and freedom to explore that country and get to know the plants and animals that existed there. It was a rich and powerful experience that I’m very grateful for. I still feel deeply connected to that land. So that's obviously where my interest in and love for the native Australian environment began, and of course throughout my adult years it’s only strengthened as I’ve come to know more of this country through travel, camping, learning and listening to First Nations voices. Living on Wadawurrung country has been special - I’m in Geelong now but also spent 18 months in Anglesea during the worst of the lockdowns and pandemic. I never imagined I’d live anywhere coastal, so developing a familiarity with coastal plants, coastal landscapes and the ocean has been pretty amazing. Every landscape I engage with and get to know informs the art I want to make in one way or another - even if it’s not immediately obvious.
Minna Leunig, Helga Salwe
Many people may recognise your murals in their own towns. What is it like to paint a large piece in a public area, and how does this compare to other works? Do you have a favourite?
It’s very different to painting on canvas in the studio. Painting murals is a bit of an adrenaline rush - the large scale, the physicality, the different challenges that come with each and every wall. The public aspect is great and challenging in its own way - having moments of connection with passers by is quite special, and any positive feedback obviously feels nice. Of course there is always going to be the odd weirdo who tries to throw you off your game (there’s always one!), but overall I feel honoured to be able to paint in public spaces - for people. That’s why I was initially drawn to ‘street art’ - I loved the idea that art was for everyone, something earthy and 'every day’ - not something that exists solely within gallery spaces which aren’t always accessible to everyone. My favourite mural at present is on the outside of Cavalier Art Supplies on Wadawurrung Country, Geelong. I also like the one I did in Bendigo.
Crisscrossing, Minna Leunig
Do you think being a woman has altered your experience in the Australian creative industry?
Absolutely. Being a woman has shaped my experience of life in general and doesn’t stop or start anywhere in-particular. I’ve had the occasional experience in the creative industry where I’ve felt undermined or pushed in ways that I find it hard to believe that white male artists of similar experience would be. I’m also very conscious of my cultural conditioning as a woman - often feeling the need to please and struggling with assertiveness for instance. There have been countless studies that show where women express traits commonly associated with leadership - like assertiveness - they are considered less likable than compared with men who express the same traits. Unconscious bias runs deep and it’s really difficult to unlearn the negative cultural narratives, stereotypes and conditioning. Of course being young, white, cis gendered and able bodied has also shaped my experience in ways I won’t ever fully comprehend - and it’s impossible to know for absolute certain how these combined factors have shaped my experience of life, career, relationships etc. Consciously trying to understand these things is really important, and honestly - these topics and conversations make me come alive. I find it all so fascinating and love getting analytical and into the nitty gritty.
Early Morning Hum, Minna Leunig
Small Haven, Minna Leunig
What advice would you give to young creatives?
It’s hard to give generalised advice, as everyone is so different and we all come from completely different places. I can only speak from my experience, and personally I’d say that having an understanding of intersectional feminism has set me up pretty well and given me confidence to put myself out there and move through self doubt and imposter syndrome - not necessarily vanish it (I still feel it), but understanding the systems of power that keep marginalised and oppressed groups of people down (socially, financially, emotionally) has helped me to muster courage when I lack it - to push forwards when needed and appropriate, to step back when needed and appropriate.
In terms of finding your own artistic style and voice - that comes with time. Make sure you keep tuning into yourself and follow the things that interest YOU - see your own individuality as your greatest asset and work on strengthening that. It’s cliche (for a reason) - but no one can do you as well as you can. So don’t waste too much energy comparing yourself to others - appreciate and take inspiration from those around you, but ultimately focus on leaning into yourself as fully as possible. I’m starting to understand that this is a lifelong and daily practice and not something you ever have fully figured out.
What are you currently working on? Anything our readers should keep an eye out for?
I have 9 paintings hanging in a group exhibition ‘Up-Side-Down’ at Saint Cloche in Sydney, showing alongside the amazing Monique Robinson of Lockerroom and Lana Launay. I have a solo show in November at Yeah Nice in Byron Bay. And a few public art projects that are in the works. Hopefully more travel next year - have been feeling cooped and frustrated up for quite some time with stupid SARS (like so many others) and am so ready for lightness and movement.
Interview by Grace Gooda.
When you paint, what message do you hope to convey? Does this change each time?
What I’m interested in and what I want to convey will definitely shift and evolve over time, as I do within myself. But in recent years I've wanted my art to act as a way of continually bringing consciousness back to the environment at a time where it needs our care and consciousness more than ever. I’d like to start being a bit more focused and specific with what I want to convey through particular exhibitions and murals going forward. For example - in 2021 I showed a collection of paintings at Outré in Collingwood that focused solely on dingoes as a threatened species. I researched their situation in the months leading up to the exhibition, and communicated what I learnt online to involve my audience in the learning process. It was genuinely so enjoyable. I’d like this way of working to become more a part of my practice.
Sparkling, 2020. commissioned by Millie Savage, Brunswick, VIC
