Leslie Boonekamp was born in 1953 in Mount Gambier, South Australia, and lives and works in Melbourne. He works in oils on marine ply, building luminosity through multiple transparent glazing layers over monochrome underpainting — a method derived from egg tempera and the Flemish masters. He is best known for paintings that place everyday inflatable objects in situations of radical philosophical incongruity, and for elegiac works exploring human displacement through the language of abandoned childhood objects.

His practice centres on two bodies of work. The Absurdist Series confronts the indifference of the universe with wit rather than despair — swim rings in Antarctic seas, boys in paper boats on wild oceans, rubber ducks as sightseers at the end of the world. The Displacement Series is quieter, working through objects of childhood adrift in open water to address loss, migration, and the fragility of human circumstance.

Boonekamp trained at the Stads Akademie, Maastricht, and subsequently at Curtin University, Western Australia. He spent two decades as a self-employed site-specific artist working in sculpture and large-scale murals before returning to painting.I came back to painting the way you return to a language you thought you'd forgotten — haltingly at first, then with sudden fluency, then wondering why you ever stopped.

After two decades as a site-specific artist working in sculpture and murals, I retired and found myself at a blank panel with a brush and no brief to fulfil. What emerged was the work I had always meant to make.

My practice centres on two bodies of work. The Absurdist Series places inflatable objects — flamingo swim rings, rubber ducks, paper boats — in situations of radical incongruity. A swim ring navigating Antarctic seas. A boy in a paper boat on a wild and indifferent ocean. These are not jokes. They are propositions about resilience, about the absurd courage required simply to exist, about the philosophical position that the universe's indifference is not a tragedy but a condition to be met with equal indifference and, if possible, wit. Camus would recognise the territory. Magritte would recognise the method.

The Displacement Series is quieter and more elegiac — objects of childhood adrift in waters that speak of loss, migration, and the fragility of the lives we build. A child's life jacket. A submerged toy. A paper boat travelling alone, its passenger's fate permanently unresolved.

Technically, I work from monochrome underpainting upward through multiple transparent glazing layers — a method derived from egg tempera and the Flemish masters — building luminosity from within rather than applying it from without. I work on marine ply panels with very fine brushes. The light in my paintings is not reflected. It is generated.

My credo is simple: it is about what you paint and how you paint. The image should be so dominant that the technique becomes invisible.

Born in Mount Gambier, South Australia. Trained at the Stads Akademie, Maastricht. Lives and works in Melbourne.