In Bewitching Spirit, Atleigh Homma documents unassuming objects and scenes that call out to her notice. Guided by intuition, the paintings share moments of naturalistic living that mirror the technical rendering often present in her work. Collected after having seen the subjects countless times, they present a carousel of moments Homma was compelled to return to time and time again. These depictions of the everyday convey a spirit with a sense of character, purpose and intention.

 

A floral motif on a garden gate seemingly blooms out of its curving metal bars to the surrounding green leaves and foliage as if to take centre stage. A figurative sculpture is cropped to the bottom of its heavy modeled dress with tiny shoes sticking out the bottom, almost ready to take a step. Rather than these objects being treated within the limits of still-life, they instead evoke an animism in which they themselves are characters within their paintings. This is present too in the plants and greenery Homma often gravitates towards, at one time perhaps manicured and intentionally placed, but over time allowed to take on their own life, overgrown and uninhibited. 

 

For Homma, all things, - animate or inanimate - have spirits; this is a common belief in Japanese culture that has often been retold to Homma throughout her life. Objects, even those of no obvious value or significance, are therefore deserving of respect and appreciation. An old hanging chandelier becomes imbued with time, relaying the many events it may have illuminated over the years, while a wilting helium balloon acts as a background character at an assumed celebration.

 

A meditation on time, an 18th century pair of shoes are displayed relic like, their apparent wear and age at odds with the intricate construction and the opulence of decoration. We are confronted with the many periods of their existence. Their fabrication, their subsequent guardians, and our own experience viewing them. These elements emanate the shoes' essence and allow us to perceive their life. 

 

Homma’s affection for the romanticism of fairytales as well as to the honor she holds for the spirits all around her are acknowledged in the show’s title Bewitching Spirit, a literal translation from the Japanese word “Yōsei” which would be the comparable “fairy” in Japan. The paintings contain no mystical or magical elements, instead they serve as a space that evokes a sense of magic and wonder. These are places where fairy tales have the potential to happen.

 

In a break from many of Homma’s previous works, these potentially magical spaces are not necessarily intimate. Many of the paintings are set in streets and parks, or public venues. Most of these paintings are not staged. Homma selects moments of charm from the everyday that one would often pass by without notice. In these moments she revels at things we all see. These paintings have an honesty to them in that they document events that can be seen by anyone, and might be otherwise lost to time.