Leah Pirone

Leah Pirone is a multidisciplinary artist and writer based in Boorloo (Perth) whose practice bridges fine art, visual culture, and critical inquiry through lived experience and rigorous academic research.

She is currently undertaking Honours at Curtin University, exploring women’s histories and embodied knowledges, following her role as an Arts Educator at the Art Gallery of Western Australia.

Leah holds a Bachelor of Fine Art and Visual Culture (2023) from Curtin University, graduating with High Distinction and receiving the Curtin University Vice-Chancellor’s Award.

In 2024, Leah was selected as Western Australia’s Cultural Mediator for the Australia Pavilion at the Venice Biennale, presenting Archie Moore’s kith and kin; a role that deepened her commitment to ethical engagement, cultural listening, and care-led practice.

Leah has exhibited locally, with works held in private, public, and international collections. Her work has been recognised across Western Australia in competitive awards, including selection in the 2026 Cossack Art Awards, winning the 2023 City of South Perth Emerging Artist Painting Prize and returning as a finalist in 2025, selection as a finalist in the Ellenbrook Art Award (2025), and twice selected as a finalist in the City of Bayswater Art Award (2024, 2025). In March 2026, Leah presented a solo exhibition at Nyisztor Studio titled Cyclical Tyrants, inviting reflection and critical dialogue while positioning art as a site for resistance, visibility, and the articulation of what is often silenced.

Marking Territory

Leah's second solo exhibition of 2026, Marking Territory expands her research and offers space for what is contested, misread, and still unfolding.

What does it mean to own a body? A landscape? Who decides how they are seen, used, or silenced? Continuing to explore how visual culture produces and challenges knowledge about women, Marking Territory examines terrains of ownership that have historically positioned women’s bodies and the natural environment as territories to be claimed, controlled, and commodified. Created on Whadjuk Noongar Boodjar, the work acknowledges unceded sovereignty while interrogating the colonial and patriarchal logics that continue to shape relationships between land, bodies, and power.

Informed by the feminist scholarship of Silvia Federici and the ecofeminist philosophy of Val Plumwood, the paintings examine how the impulse to control has shaped the historical treatment of both women and the natural environment. Scarred landscapes and concealed female figures embody histories of violence while asserting regeneration, reclamation, and matrilineal memory. Gestures of self-preservation become quiet acts of resistance, insisting that care can also be a form of power. These landscapes, like bodies, carry scars. If they can bleed, resist, and remember, how can they not also speak? Through painting, Marking Territory asks: after centuries of treating both land and women as resources to be regulated, how might we imagine relationships based on reciprocity, care and renewal?

Connect with Leah:

Facebook: Lah Lah Land

Instagram: @lahlahlandart

Website: www.lahlahland.com

Promotional poster: