Her oeuvre has evolved a long way from the technical naïveté and adolescent reminiscences that first caught critical attention back in the 1990s - the tail-end of Christchurch’s “Pencilcase” influence; she was a generation after Cotton, Robinson, de Lautour, and Pick at Ilam. Since the mid 2000s, Leek has preferred to use found samples of mass-produced or popular visual banality as a starting off point for the application of paint to ground. The works in Fruit Subjects are a continuance of that vector, although the source images would appear to have been derived from the kitsch end of that mainstay of art history from the Dutch Golden Age to Cézanne’s apples: fruit. It is an art that conceals itself - Leek makes it look easy.