The canvas works in this Leszy painting folklore art series embrace accumulation and concealment. Working in acrylic, I build surfaces through multiple sessions, creating layers that bury previous marks, then scrape back to reveal history, holding secrets beneath what you see. In contrast to simple representation, these forest spirit paintings operate through density and transformation. Consequently, paint obscures and exposes simultaneously.

For instance, a bearded face might emerge from scraped-back layers in these Leszy artworks, bark-like textures revealing the anthropomorphic nature of the forest guardian. Meanwhile, green and brown hues might contain ghosts of earlier attempts, earlier visions, marks that refused to stay hidden, much like the Leshy himself, who reveals himself only to those who truly see.

Therefore, each painting contains its own archaeology: what was painted first, what got buried, what insisted on resurfacing—echoing how the Leshy could appear as a towering tree or shrink to blade-grass height. Notably, not every mark survives, but every mark leaves a trace in these folklore art pieces. Furthermore, color becomes atmospheric rather than descriptive in this forest demon painting approach.