Born in England, she lived in Georgetown, Guyana, from 1958 until her death, taking out Guyanese citizenship in the early 1970s.

Leila Locke contributed to that movement in that she brought her English outlook to bear on our intimate backyards, our houses, our jalousies.

"[1] Locke cited Bonnard, Gauguin and Piero della Francesca as strong influences in her work.

Elfrieda Bissember (later Director of Castellani House, Guyana, Guyana's National Art Gallery) wrote of her paintings: "It is a record of a contemplative moment, complete in its details of unassuming but essential elements of any Guyanese life....There is a delicacy and unity of colour in the artist's handling of paint, and she has created a scene of great simplicity, warmth and directness...harmoniously designed in its unassuming details within this framed glimpse of a local backyard...thoughtful and limpid".

[2] late 1960s – With Agnes Jones, curated international children's art exhibition at Bishops High School, Georgetown.

[9] 1971 – Illustrated "My Lovely Native Land: An Anthology of Guyana"[10][11] by Elma and A. J. Seymour, with a cover by Aubrey Williams.

[2] 1975–79 – Seconded to work with George Henry Associates on the production of locally produced glazed tiles for the swimming pool of President Forbes Burnham.

[13] 1984 – Became Production Manager at the WRSM (Women's Revolutionary Socialist Movement) owned Vanceram Tableware factory.

[2] 1989 – Was part of group exhibition "Themes and Variations" mounted at the National Museum in Barbados, sponsored by the Guyana/Barbados Association.

[1] Locke produced public artworks such as a ceramic bust of Forbes Burnham in Kitty, Georgetown (circa 1986), four tiled panels at the Burial Place of President Burnham, and murals at the Critchlow Labour College and The Royal Bank of Baroda (1970).