Creativity finds a way to flourish, no matter the circumstances.
For Leeds-based artist and curator Leah Anderson, that meant swapping sculpture for digital illustration when space became an issue - proving that adaptability is just as important as inspiration. Her work, rich with texture and nostalgia, explores memory, place, and the quiet moments of every day life.
We first met at Left Bank, where Leah not only works but thrives within a creative community, curating exhibitions and championing public art. Our friendship has since evolved into Friday co-working sessions at the Mill. Over coffee, she reflects on her artistic evolution, the realities of freelance life, and how Leeds continues to shape her career.
Congratulations on your recent exhibition at Brunswick Leeds. Can you share the inspiration behind the pieces showcased and how this exhibition came to fruition?
At university, I originally explored sculpture. After graduating, it was difficult to continue - I live in a tiny room with no studio space. I found myself feeling creatively stuck. Last year, I took the plunge and bought an iPad so I could create anywhere.
I didn’t have a set plan; I just knew I wanted to explore drawing more. Then I came across Japanese matchbook designs - they reminded me of risograph prints. That’s what first sparked my interest. I got a pen for the iPad that replicates that risograph texture, and everything developed from there.
Yeah, your drawings have that really, nice texture to them!
I started out reimagining these matchbook designs, which is what the Do Not Disturb print is based on. Tabac was created on holiday, inspired by a sign I saw in France. That piece really kick-started my style. I’ve always been drawn to windows and lights - something I explored at uni. I always seem to go back to this even though I didn’t realise it until now.
That’s when you know you have your own style, right? When you naturally revisit certain ideas.
It’s funny - I never thought I had a style. But when I look back at my work, I can see I’m really interested in memory, place, and space. There’s also a lot of voyeurism in my art: when you are viewing something you aren’t supposed to - glimpses into people’s lives.
The exhibition at The Brunswick includes three triptychs. They’re not directly related but work well together. The first features my early matchbook-inspired work. The second is more personal, drawing from places. I love - camping, the beach - using reference images from my camera roll. The third focuses on architectural and urban landscapes, which I think will become a bigger part of my work moving forward.
Your most recent drawing, Balcony Glow—can you tell me more about that one?
I actually made that the week of the exhibition! I was looking at the body of work and felt something was missing. Once I drew it, that was it. It’s my favourite piece now.
Was there a specific moment or experience that made you realise you wanted to be an artist or was it a gradual thing?
When I was in year three or four, we had to draw angels in school - one crouched over with big wings. Someone told me mine looked really good, and I thought, Yeah, it does! That drawing is still up in my parents’ house somewhere.
If you’d asked me in primary school, I wouldn’t have said I wanted to be an artist. I didn’t believe I was good enough. I always loved art, but I only studied it at university as a way to move away. When you’re young, you’re told that being an artist isn’t a real job, so it never felt like an option. But creativity has always been a part of my life.
Do you think university helped your confidence as an artist?
Honestly, the opposite! I constantly felt like I hadn’t “got it.” At 18, you don’t always know your interests yet. Now, at 28, I look back and realise my younger self had no idea what she was doing.
Working full-time can also be tough. My job is creative, but there’s still a lot of admin. If I’m not making art for myself, I really feel the impact. It’s like therapy for me.
Your use of colour is really interesting - you often choose unexpected shades. Do you think this is your favourite stage of the process?
I can’t wait to change things and add things on. The technical drawing part isn’t as important to me - maybe it will be when I’m older. People say I’m a good drawer, but for me, it’s more about the creativity of making something rather than perfectly recreating an image by hand. Some people might say that’s not real art, but I disagree.
Is there a piece you’ve made that feels the most personal or represents you best as an artist?
I think my style is constantly evolving. My excitement comes from creating new things - I’m not someone who can stick to one medium forever. I dip my toes in everything. I love DIY, I love building things - that’s my sculpture background coming through. Right now, I’m obsessed with lamps and want to design and build them. Who knows when that will happen, but one day it might!
I really admire artists with a consistent style—it blows my mind! I get bored too easily.
How does being based in Leeds influence your work?
Working at Left Bank really feeds into my creativity, especially the community around me. They inspire me to make more. I might find that elsewhere, but what I wouldn’t find is the same opportunity to develop public art projects.
Right now, I’m curating an exhibition at Left Bank on the idea of Home. We recently ran free workshops using recycled materials from Beamworks to create structures representing people’s homes - past, present, or imagined. These will form a light installation, a floating neighbourhood.
Exploring this kind of work is something I wouldn’t be able to do if it wasn’t for Leeds. The network that Left Bank has given me – I wouldn’t be able to find that anywhere else.
If you could change one thing about the Leeds creative scene, what would it be?
More money, everywhere for everyone!
Also, better interconnectivity. There’s collaboration, but I’d love to see more businesses working together. I think this isn’t happening because everyone is so busy and just trying to keep their heads above water in the current climate.
There are so many creatives who come here [Left Bank]as students, it would be good to build a space for them post-graduation with more work opportunities, studios, all the things that we are losing because of capitalism.
We need to feed that. Keep the creative culture rather than expecting culture to grow when everyone is moving to London because they need jobs.
What’s been the biggest misconception you had about freelance life before you started?
I feel like I’m just dipping my toes in, but I’d love to be a freelance curator and explore different spaces. It’s scary, though. I work 40 hours a week, and then I have to think about my own creative projects - it’s like chasing your own tail.
But I’m building my brand, getting my name out there. That’s my focus for the next few months.
I wouldn’t want to leave Left Bank. I’ve got so many projects going on that I am invested in. I wish we had two extra days in the week and maybe an extra day off. That would be great!
Do you think there’s enough support for young artists in Leeds, or is it more about building your own opportunities?
It’s a mix. Building a network early is key. That’s something I didn’t do at university, and when I graduated, I felt isolated. If I had started networking sooner, I’d be further along now.
I know some students who volunteer at Left Bank and who are doing that work and every time I see them, I tell them “Keep doing it, you’ll thank yourself later in life.”
You have to create your own opportunities. At Left Bank there may not be obvious opportunities, but you can create your own. If you had an idea for a workshop or an event, go into these places and pitch it. Ask for help to make it happen. Then you create opportunity for yourself.
What’s next for you?
I’m working, through Left Bank, on expanding community exhibitions beyond Left Bank - particularly in Headingley. I want to develop public sculptures for exhibitions, encouraging engagement from people who don’t see themselves as “artists.” I think this is the best way to develop interest in cultural happenings if someone has ownership over it
That’s my plan - build more networks, more opportunities, and keep creating.
If you could sum up your approach to art and life in one sentence, what would it be?
Try it out, don’t overthink it—what’s the worst that could happen?
Well, in some areas of life—be sensible!
.jpg)
