‘the artist tends to capture her figures on the verge of an uncertain revelation, playing with the power of paint to explore mood and illusion. This method plunges viewers into a crucial situation and leaves them to decide on its conclusion.’
Rise Art, 2021
‘While You Slept’ series 2021
Above clockwise: 1) ‘While You slept’ detail, Oil on canvas, 100 x 100cm, 2021; 2) ‘Dropping like a flower’, Oil on canvas, 20 x 20cm, 2021; 3) ‘Chorus’ detail, Oil on canvas, 100 x 80cm, 2021; 5) ‘Hypnagogic’, Oil on canvas, 20x 20cm, 2021; 6) ‘A slow wound’, Oil on canvas, 20 x 20cm, 2021
‘Night Vision’ series 2021
Top Left: ‘The night in the day’, Oil on canvas, 30 x 40cm, 2021; Top Right: ‘Head’, Oil on canvas, 50 x 50cm, 2021; Middle: ‘Covering Cherub’, Oil on canvas, 80 x 100cm, 2021; Bottom: ‘I became a spider’, Oil on canvas, 122 x 153cm, 2021
‘that grooved emulsion in which dead people ran about’
Oil on canvas, 76 x 51cm, 2020
Original oil on canvas paintings
‘working back from the deadening equivocation of the camera’s eye…’
‘Working back from the deadening equivocation of the camera’s eye, Lucy hints at the unseen drama of our solipsistic lives, creating a mood of ambiguous and ambivalent memory’ (Creative Week, September 2005)
Oil on canvas, 50 x 80cm, 2021
‘I explore ways of mark-making which can express my nostalgia for the look of TV: the way it shimmers and pulsates with colour.’
‘In a move away from the purely pictorial into areas of strange presence, I’ve been exploring ways of mark-making which can express my nostalgia for the look of TV.’
The passenger
Where is she going? Where has she come from?
The memory of a paused moment.
Count Zero series
In describing a few moments of cinema in hours of painstakingly created brush marks, I intended to give life to the arrested moment, at the same time as slowing down looking.
‘The supposition of her existence’ series
The sources for these paintings are rephotographed images from a phone screen, which create appealing colour reductions and textural confusions (moire lines).
The woven, repeated patterns reference the material support the painter uses, and how such materials have been historically created by a female workforce.
Often employing repeated lines, I present the ‘world-as-appearance’, everything only ever seen through a series of veils and foils, in which the (often female) subject is seemingly trapped.
We feel these epiphanic, slightly troubled moments as our own, raising concerns about the subjective nature of experience and gender.
‘The observer’s brain stands like a wall between the observing subject and the real nature of things’
Schopenhauer, ‘On Vision and Colours’
‘revert the counter to zero’
I have selected moments when the character’s facial expressions are relatively ambiguous. She might be on the verge of fear, pity, anger, love, or disgust. Or she might not. Together, the interrelation of the paintings enables the viewer to see the echoes, parallels and contrasts as forming their own, dreamlike open narratives.
Painting from photographs of film is a process of slowing down images taken from a ‘fast’ medium, but also of reinvigorating them. I am giving a life to the ‘null’ moments that the actress has portrayed between the ‘true’ emotions in the script.
