PATRICK LEACH
PATRICK LEACH
St’át’imc First Nation, T’ít’q’et, P’egpig’7lha (Frog) Clan / Snuneymuxw First Nation
Unceded, Ancestral & Traditional Territories of the Snuneymuxw & St̓át̓imc First Nations.
Pacific Northwest
Photography & Ceramics
Patrick Leach is an artist and ceramicist well known across the Pacific Northwest for his uniquely carved ceramics that reflect St’át’imc & Snuneymuxw First Nations territory landscapes, cultural practices such as dip-net fishing and traditional basketry, and designs inspired by ancient rock paintings.
Patrick is also of Snuneymuxw First Nation heritage on his mother’s side. A First Nation of the Coast Salish People, the Snuneymuxw have resided on their unceded territories on the eastern coast of Vancouver Island, villages on the Fraser River and waterways in the Gulf Islands since time immemorial. While the St’át’imc mainland, interior territory is known for its breathtaking mountains, forests and abundant river and lake systems, to the southeast east, the territories of the Snuneymuxw encompass some of the most biodiverse waters at the heart of the Salish Sea which separates Vancouver Island from the Pacific Northwest Coast.
Patrick's first interest in art began with photography, which he studied at North Island College in Courtney, BC. His photography debuted in magazines such as Red Skin and Say, and over the course of 11 years in his role as an on-scene fire fighter for BC Forests, he would go on to further develop his craft by documenting the unique natural landscapes of the area. In his early 30's, Patrick was first introduced to ceramics by his brother George Leach and whilst completing a mentorship with Matthew Jacob [a well known First Nations photographer] he began to pursuit a career in ceramic arts under the tutelage of master potter Erdman Tuemp. His practice was deeply informed by the styles of both Erdman and the renowned Kwakwaka'wakw artist Steve Smith.
Patrick's ceramics are created using a decoration technique called sgraffito, where the surface of the ceramics are carved into in between various phases of glazing to create images and patterns by revealing the raw clay underneath. This technique, though mostly attributed to 16th century European artistic traditions, can also be found in the history of Islamic pottery as well as throughout Africa and East Asia in countries such as South Korea. The use of this technique aligns well with pre-eminent techniques for carving wood and stone which have been practised by Coast Salish & Interior Salish Peoples on the Pacific Northwest for over 5,000 years.
The distinctive red bands and black glazes used by Patrick in his work find their origins in formline; the continuous swelling and tapering lines that unite design elements in Northwest Coast Indigenous Art. Black and Red are essential to defining the primary elements of a formline image and were traditionally drawn with natural pigments made from charcoal and red ochre bound with salmon egg oil, animal fat, or blood. Colours such as yellow and turquoise also hold symbolic significance in Patrick's work referencing the power of the sun and water's transformative strength.
Patrick's choice to pursue ceramics aims to further the development of these art forms and also to see the creation of objects known for their longevity that will aid in the preservation of Interior and Coast Salish cultural heritages. This includes imagery such as geometric arrow head patterns associated with Coastal & Interior Salish basketry which often encompass his vessels. Ancient red ochre pictographs located within and around St’át’imc First Nation's ancestral and traditional territories, are also a deep source of inspiration for Patrick with many of his pots and vases featuring motifs of human/animal figures and celestial bodies carved into the surface.
Patrick’s work is recognised for its fine finishing, colourful cloud-like glazes and bold, yet intricate weaving designs. His ceramics are of particular interest across North America as he is one of the only established First Nations potters working in the Pacific Northwest. Patrick's company P’egpig’7lha Studio & Gallery is based near Lillooet, BC and his work can be seen in both museum and commercial collections across North America.
