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2021 Group Show; Mize Gallery, St. Petersburg, Florida
2020 Artists Supporting Artists, 2020 NYFA Benefit Invitational (New York Foundation for the Arts) NYC, NY
2012 Queens Art X, What If Artists Remade US Economy, Queens, NY
2011 Faculty Exhibition, SUNY Columbia Greene Campus, Hudson, New York
2010 InFUSION Project Space, Memorial Sloan Kettering, Brooklyn, NY, “of nutshells and nuance”, site specific installation
2010 Koussevitsky Gallery; Berkshire Community College, Pittsfield, MA “of saint and syn” site specific installation and artist talk
2010 Splice; Group Exhibition, Distillery Projects; Jersey City, NJ
2009 Brooklyn Art:Work, Group Exhibition, BRIC Rotunda Gallery, Brooklyn, NY
2008 In/formation, Group Exhibition, BRIC Rotunda Gallery, Brooklyn, NY
2008 Trellis; Group Exhibition, Rupert Ravens Contemporary, Newark, NJ
2008 A Passion for Pixels; Group Exhibition, Islip Art Museum, East Islip, NY
2008 Hand Drawn, Group Exhibition, Storefront Artists Project, Pittsfield, MA
2007 Information Anxiety, site specific installation, The Daniel Arts Center, Bard College at Simon’s Rock, Great Barrington, MA
2007 Ephemera, Group Exhibition, Lascano Gallery, Gt. Barrington, MA
2006 Triskadekamaniacal, Group Exhibition, Axis Gallery, Chelsea, New York
2006 Gender, Group Exhibition, Haddad Lascano Gallery, Great Barrington, MA
2005 Obsession, Group Exhibition, Haddad Lascano Gallery, Great Barrington, MA
2004 Metro Show, Group Exhibition, City Without Walls, Newark, NJ
2004 National Fall Open, Group Exhibition, Southern Vermont Art Center, Manchester, VT
September 11, 2001 ignited my art career.
Although an art school graduate, at the time I was a marketing executive at a large cellular company responsible for selling mobile data to large corporations. They called it Blackberry. We called it Crackberry aware of its potential for good and evil. We began sending the devices to Ground Zero to help with communications which brought this duality into stark reality and raised questions that formed the foundation for my current practice.
In the days and weeks that followed the horrific day, it was revealed that one of the causes of the event had been the government’s severely inadequate technology information infrastructure and the inability of the responsible individuals to piece together the disparate tech driven “clues” scattered about the deluge of data that might have changed the outcome of that day.
This revelation sparked questions that still rattle around in my head and heart and have become more relevant than ever.
How to manage systems that can catalyze destruction and creation? How to parse data pumped into our lives for truths and lies? How to negotiate for a balanced coexistance the manipulated information that crashes our private and personnal boundaries?
So, I quit my career in the data world and, at 50, returned to art school where I acquired an MFA, found a space in Brooklyn, and embarked upon a studio practice exploring literal information networks harvesting bits of data detritus and ephemera to be used as the material to stitch together contrived narratives, both soothing and disturbing, reflecting the nature of their source.
These explorations continue from my studio in the Berkshire Mountain foothills, in a time when the always transforming, always evolving data pathways offer us more abundance and poverty than ever…an on-going exercise in the reconciliation of chaos and comfort.
Here is what Elizabeth Ferrer curator and now VP of Contemporary Art at BRIC Arts Brooklyn had to say about "of forests and forensics" an installation that appeared at BRIC Rotunda Gallery in the group show "IN/formation".
"Leslie Alfin produces sculptures, installation and two-dimensional works based on print-outs of words and images yielded from Google searches. The forms she creates act as a literal web of her findings, as well as the visceral materialization of the seemingly infinite bits of data that exist in global communication networks. In googling her questions Alfin leaves the results unfiltered in her work; the incongruous juxtapositions visible in her installations parallel the inaccurate results to be derived from Googled pathways, leading to new permutation of "information". The artist wraps her printed results with transparent material, producing eccentric environmental sculptures that sometimes resemble large pods with spindly extensions that seem capable of chaotic, unhampered growth."