The Full Story
Leah's artworks
This page presents a selection of earlier works from different stages of the artist's practice. While each piece carries its own story and reflects a longstanding interest in human-centered themes, they also document an evolving artistic journey.
In her earlier years, she focused primarily on realism, often drawing inspiration from people, cultures, and lived experiences. Over time, her practice gradually expanded beyond direct representation, incorporating elements of abstraction, atmosphere, and emotional interpretation.
Her current body of work marks a new direction that is still unfolding. Centered on the relationship between human presence and the natural world, these paintings explore themes of perception, memory, and quiet observation. Figures are often encountered indirectly—partially obscured by growing plants, filtered light, or shifting layers of space. Rather than presenting complete narratives, the works linger within fleeting moments, inviting viewers to discover rather than simply observe.
Through restrained palettes, layered brushwork, and an emphasis on ambiguity, the artist seeks to create images that feel both intimate and distant, familiar yet elusive. The new series continues to develop toward a more unified visual language and a stronger artistic identity, while remaining rooted in an ongoing exploration of how we see, remember, and connect with the world around us.
A member of National Association of Women Artists;
No PLCAE TO HIDE
36x36x1.5", Oil, 2025
In February 2026, No Place to Hide was selected for the IN-SECURITY at HVMOCA.
After the work was shipped, it unexpectedly went missing in transit. I had planned to attend the exhibition opening but ultimately had to cancel the trip due to the uncertainty surrounding its whereabouts.
Three days after the opening reception, the artwork was finally located. Surprisingly, it had been sitting only fifteen minutes away from the exhibition venue.
The incident gave the work an unexpected layer of meaning. Themes of disappearance, searching, and discovery were no longer confined to the image itself; they became part of the artwork’s own journey. What began as a logistical mishap ultimately became an extension of the story the work was already telling.
ME.WE
36x48x1.5", Oil, 2025
This work was created in memory of a beloved companion.
I have shared my life with two dogs since they were puppies. They have been more than pets—they have been family and lifelong friends. One of them, Shouley , was a champion hunting dog who competed in AKC events. Intelligent, gentle, and deeply loyal, she was an important part of my life for many years.
During a trip abroad, I left her in the care of another family. Unexpectedly, her life came to an end while I was away, and I never had the chance to say goodbye.
This painting is not intended as a literal portrait of Shouley. In fact, the dog depicted in the image bears little resemblance to her. Instead, the work serves as a vessel for memory—reflecting companionship, love, loss, and the emotional traces that remain long after someone is gone.
The piece was later exhibited at a local art center. Although rooted in a personal experience, the emotions it explores extend beyond my own story. For many who have loved and lost an animal companion, the feelings of connection, separation, and remembrance may feel deeply familiar.
FRIDA KAHLO SERIES
26x36x1.5", Oil, 2025
I have always enjoyed learning about the stories of other great artists. Many of their lives have been portrayed on screen or stage, but each person’s interpretation of these stories is unique. When I paint Frida Kahlo, I see her love and sorrow. Despite facing personal and physical suffering, she longed for the peace and simplicity of an ordinary life, hoping to bask in sunlight and enjoy the beauty of nature like anyone else.
Understanding an artist’s work is like getting to know a person — a journey from surface-level acquaintance to a deeper understanding. This process takes time and patience, and it’s exactly this gradual recognition that has deepened my understanding of Frida Kahlo.
Her artistic talent, along with the spiritual realm she sought to express through her work, makes her life and art all the more fascinating. Her personal struggles and inner turmoil only deepen the emotional depth and power of her paintings.
COLORS OF FLORIDA
36x36x1.5", Oil, 2025
This 48x72 inch acrylic painting captures the lighthearted and relaxing atmosphere of Florida. Three sandhill cranes stroll leisurely across the vibrant grass, as if basking in the warmth of the sun, adding harmony and energy to the scene. The colorful, lush grass reflects the warmth and vitality of Florida’s nature. The sky, painted in soothing hues, resembles the gentle glow of the evening light, evoking a sense of peace and joy. This piece is ideal for large homes or hotel spaces, bringing a cozy and relaxing Florida vibe to any environment.
FRIDA KAHLO SERIES
As a lover of painting, I've come to realize that behind every great artwork is often an artist's life full of drama. Each outstanding artist seems to have a unique, untold life story. Whether ordinary or famous, the outward shine of every person hides a multitude of untold struggles and hardships.
My admiration for Frida Kahlo started like that of any other fan. Like countless others around the world, I was drawn to her work. At first, I painted her simply because I liked her image, which I encountered through a well-known black-and-white photograph in the public domain. But as I continued to create, I began to realize that Frida's paintings conveyed emotions and an inner world far beyond surface admiration, and I found myself gradually incorporating my own feelings and reflections into the process.
FRIDA KAHLO SERIES
In my own creative process, I feel as if I am engaging in a silent dialogue with her, and I truly enjoy this experience of reflection and expression.What is certain is that these works are not created for commercial purposes, but are instead each painted with deep personal understanding and emotional connection to her.
FRIDA KAHLO SERIES
I have visited Africa twice, and those experiences have had a lasting impact on my artistic perspective.
Specially the first trip in 2024, gave me a whole new perspective on lions. In this painting, I wanted to capture a mother lion shouldering the dual role of both hunter and protector. She’s out there in the dry season, walking steadily and looking determined, embodying resilience and selfless strength. Through her, I wanted to express something that resonates with us too: whether in nature or in our own lives, taking on responsibility often means facing challenges alone. But in that solitude, there’s a quiet, powerful dignity. My hope is that viewers can feel the strength of her maternal instinct and reflect on the ideas of responsibility, sacrifice, and what it means to keep going.
FRIDA KAHLO SERIES
In Africa, I personally witnessed several instances of the African wildebeest migration, commonly referred to as the “Crossing.” After the rain, the fresh grass on the opposite bank of the river attracts thousands, even countless wildebeest, who risk crossing the river. In this perilous migration for survival, the river often harbors their predator—the lurking Nile crocodile, ready to strike. One moment, a wildebeest is lively and active, and the next, it may meet its end. I saw elderly wildebeest with their legs trapped by stones in the river, some exhausted and unable to climb out. What touched me the most was seeing many young wildebeest who had successfully crossed to the other side, anxiously looking back at their group, even recklessly returning to search for their family. Perhaps they will never see them again. The scene was both breathtaking and heartbreaking. I understand that this is the natural order, but I was deeply moved and almost brought to tears.
One day, I might paint this scene, but right now, what I want to express more is the tranquility found in the midst of impermanence.
The Tibet lady with cat
I consider myself lucky because I paint freely, creating however I feel without deliberately pursuing a particular style. This is one of my early works, created after visiting Tibet over 20 times, and it is paired with another non-sale piece.
When choosing a subject for my paintings, I need to be deeply moved. Just like with Frida Kahlo’s works, or the impact I felt when I visited the safari, encountering a wild world I had never understood before. It’s like how I just returned but have already planned my next trip to Africa next year. Tibet is another place I want to revisit after each trip. The local customs and people deeply attract me, from initially not liking it to eventually falling in love with it—it’s a transformation that’s quite magical.
Most Tibetans are kind, straightforward, and generous. I have always believed that the stray cats and dogs in Tibet are the happiest in the world. They lie in the sun at the bustling Jokhang Temple Square without anyone harming them. If a stray cat or dog gets sick or injured, people will always spend their own money to take them to the vet. Tibetans have faith—they pray and make wishes for the well-being of the community, not for themselves.
This painting was created many years ago, and I can hardly remember the exact time. In an era without AI, I combined the images of a cat and a girl, without any reference. My creative idea was: there should be light, love, and warmth.
ABOUT BAMBOO
This one I painted many years ago—a corner of a park in Chengdu~~one of the old style but new buildings. I recently gave it a new glaze, and it feels like it’s dressed in new clothes. I really love it myself. This piece is titled "A Home Should Have Bamboo."(The phrase "A home should have bamboo" originates from the Song Dynasty writer Su Shi in his essay On the Bamboo Pavilion of the Monk at Yuqian. Su Shi expressed his fondness for bamboo, seeing it as a symbol of elegance and resilience associated with scholars. He wrote, “I could go without meat, but not without bamboo. Without meat, one may grow thin; without bamboo, one becomes vulgar.” This means that while one could live without meat, living without bamboo would result in a loss of refinement. The phrase has since been often quoted to express the love of bamboo and a pursuit of a noble, cultured lifestyle.) I’m not sure whether having bamboo at home is truly necessary, as it grows quickly and can be difficult to manage. However, on that particular day, it had just rained, and the bamboo leaves were swaying in the wind, filling the air with a refreshing scent. Birds were hopping around on the old-style rooftops, chirping happily, creating a very calm and comfortable atmosphere that left me with a positive impression of bamboo—it was very peaceful.
FESTIVE JOY
As an artist, I pour my heart into each piece. My work often emerges from moments of inspiration, shaped by various elements—not only technique but also the emotions of the moment. Unlike a photograph, recreating a painting exactly is nearly impossible; every brushstroke and color choice reflects that unique instance.
This piece is one of my early works. Though images of it can be found online, it has never been publicly exhibited. It captures a Tibetan girl dressed in festive attire, filled with the joy of celebration. If you’re interested in my work, I’d love to connect with you.
AUTUMN TRANQUILITY
Compared to other mediums, I create the most oil paintings, followed by acrylics, and then watercolors. This watercolor piece was created during my time learning with my watercolor teacher. It depicts autumn leaves, with a dragonfly gently resting on one of them, capturing the quiet and warmth unique to the autumn season. Due to space limitations in this exhibition, this piece is not on display. If you’re interested in this work, feel free to contact me.
