”The Supposition of her Existence’ Solo show of recent paintings takes place at Stamford Contemporary Arts, 2 Maiden Lane, Stamford, PE9 2AZ https://www.stamfordcontemporaryarts.co.uk/monthly-exhibition/ , from 10th May – 12th June, Mon – Sat 10 -4pm (COVID measures apply)‘. I will also be setting up studio at the front of the gallery every Saturday morning (10- 1pm) for the duration of the show. This will be an exciting opportunity to come and meet me, see me work and even have a private tour of my show! (book here: https://lucycade.wordpress.com/contact/). The show includes 18 paintings completed in lockdown, and all work is for sale, with prices ranging from £160 – £800. I am also, as ever, open to commissions.
I have absolutely loved working towards this show – I hope you can meet me there either in person, or through my paintings! It will be great for gallery-goers to be out and about again in May and beyond.
‘My figures are avatars, enabling me to capture moments I can relate to, when we suddenly realise the illusory nature of existence and that consciousness is actually an empty space of being. We can read the uncertainty and vertigo of such a revelation, as the veil of ‘Maya’ comes down. My own meditation practice inspires me to notice and seek out these moments.
I present painterly non-places, which amplify the emotional charge of their inhabitants.. The paintings often capture a moment of hesitation or transition, and emerge from or recede into a pattern of lines. I rephotograph found photographic sources multiple times from the screen of a device.: this provides a starting point for colour reductions and textural confusions (moire lines).
The veiling/rippling is in part a reference to the material support the painter uses (a woven material, i.e. canvas), and to how such materials have been historically created by a female workforce. In looking we know the ‘world-as-appearance’: only ever be seen through a series of veils and foils, and the (often female) subject seemingly trapped in this experience. The viewer can feel the epiphanic, slightly troubled moments represented in my paintings as their own, raising concerns about the subjective nature of experience and gender.
They also allude to classical myth and pre-Raphaelite representations of women. In terms of style, the paintings present an inventive take on the work of artists such as Luc Tuymans and Gerhard Richter, who have also taken photographs and cinema as their source material.’