Elska Leeloo Artist and writer. London, and abroad from September — making, writing, and releasing an archive of ten years.
I.

Forest In The Clouds

Forest In The Clouds was the name given to my latest private dinner. Hosted on the 35th floor, the set went to elaborate lengths to give the feeling of having invited the sky itself inside, ushered in from the balcony, clouds trapped in the rafters. Many many pillows were harmed in the making and harvested for their innards.

Forest In The Clouds · 01
Forest In The Clouds · 02

Invitations were set in ceramic and a full dinner set for twenty guests took over the studio. It was my most ambitious project to date, and the gracious collaboration of the magnanimous Charlie Hills in the kitchen and Piper Delilah assisting with everything else (particularly the trees!) made everything possible. If I have learnt anything from these continued efforts, it is that collaboration is not just key but is an essential gift that carries forward into a guest’s ability to suspend disbelief.

Admittedly there seems to be a central motif to these immersive dinners of mine. A backdrop of red, set against crisp whites. Elements of texture, ephemeral and earth-bound balanced on a knife’s edge. But the origin of the dinners in the first place speaks to why.

Typescript · 12.02.26This all began with a dinner last year that I candidly named ‘Period Party’. A celebration of my first period after a half-lifetime on contraceptives to prevent the spread of my Endometriosis. Such remedies are falsely presented as ‘remedial’ and after a surgery earlier that same year that had proved their redundancy, I decided it was time to put an end to artificial hormones. Following my first bleed — which felt like a grand leap back into womanhood — I decided to frivolously celebrate the natural, considered it a do-over, a metaphorical first, to celebrate all those that had come before and would now come again. What has come since has grown into a motif that reveals more to me with each iteration. Red and white as central pillars. Themes of folklore and femininity, of allowing dream-worlds to overlap and conflate the ‘real’. It seems to me now that I am trying to evoke a long forgotten impression. That of a very young girl, embracing her first period in the middle of an ancient forest, hunting rabbits and carving wood, on the kind of school trip younger generations have missed as regulations get tighter and the world generally more sanitised. I remember vividly the purity of this first encounter and the smell of blood mixed with wet earth and pine trees. I was diagnosed with Endometriosis at fourteen and from that experience onwards all purity, all raw femininity was removed from the equation by doctors notes, opioids and eventual hospitalisations. Five surgeries and endless other ‘interventions’ later and I’m finally understanding the gravity of it all. The frivolity of these dinners — and by that I mean time, all of the time and effort that goes into them — is largely the point. In a world where taking one’s time and committing the gift of ‘real effort’ on the part of something that does not appear to be entirely ‘productive’ — all of which I feel to be exceptionally important aspects of the feminine — the act of these dinners feels like a rebellion. A disagreement with contemporary culture. They last only a night, but dependent on the creative they may take days or weeks to execute on. Such encounters used to be considered an artform, and conversation too. Magic in the mundane. Not that any of it is really all that mundane.

What I have ultimately discovered is that the whole reason for the dinners, why they exist and what they achieve, is whimsy. It’s the putting in of an inordinate amount of effort and heart that transports people. It feels frivolous and it is, and that is their real power.

Forest In The Clouds · 03

The pieces

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