Portrait by  Matthew J Watkins

Portrait by Matthew J Watkins

British born Lucy McLauchlan's large-scale monochromatic paintings have covered multi-story buildings across Europe, gigantic billboards in China, windows in Japan, houses in The Gambia, Italian water towers, Norwegian lighthouse, walls in Moscow’s Red Square, Detroit car parks and abandoned NYC subway tunnels.

Implicit within her work is a deep respect for nature as she draws inspiration from her immediate environment; allowing it to inform and direct what is an intuitive and explorative process.

Lucy’s work is held in many private and public collections:
the permanent print collection V&A Museum London; the British Government’s art collection Rome; the contemporary art collection Birmingham Museum and Art Gallery; the permanent collections of The Library of Birmingham; Urban Nation Museum Berlin; State Centre of Contemporary Art Moscow and Soho House collections in the UK and West Hollywood.

She is a founding member of ‘Beat13’ with Matthew Watkins, originally established as an autonomous platform and gallery space to instigate self-initiated projects.  Watkins has produced numerous films following McLauchlan at work, revealing an intimate insight into her practice which has won awards with ‘Tacit’ at the Metropolis Art Prize, New York (2010) and the Flatpack Short Film Awards, UK (2018) with ‘New Zealand’.

Notable solo exhibitions include; UNFOLD, Centrala, UK (2019), There Are Voices To Be Heard, Nelson Gallery, New Zealand (2018), Birmingham By Pass, Minerva Works (2017), Where Were You Before Now, Fluoescent Smogg, Barcelona (2015), Marking Shadows, Lazarides Gallery, London (2014),  Holding onto Fragments of Past Memories, Triumph Gallery, Moscow (2013), Together, Lazarides Rathbone, London (2010), All Of Us, Rugby Art Gallery and Museum (2009), Restricted Freedom, FIFTY24SF, San Francisco (2008), Expressive Deviant Phonology, Lazarides Rathbone, London (2007), Before the Birds Stop Singing, Analogue Gallery, Edinburgh (2005).

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It is a welcome discovery to find the fluid curvilinear geometries of Lucy McLauchlan on the street - the monochrome palette genuine, the forms bursting with vitality. By coaxing graphic rhythms from the natural world and expressing them with her own gestural physicality her work has the power to bring the constructed city alive. And it does, without pretense.
— Steven P. Harrington. Editor In Chief/BrooklynStreetArt.com, New York.
Lucy McLauchlan is an artist from Birmingham, UK. She makes murals, installations, painting, and other types of mixed media work. The images are often complex black and white patterns and recently has explored the abstract forms created by large brush strokes. The Huffington Post described McLauchlan’s work as “a combination of psychedelic motif and bold graphics”. McLauchlan often collaborates with musicians in the production of her work or in it’s documentation. The links between her images and music are clear. There is a rhythm and tone to the pieces, almost a synesthetic quality. Not so much that paintings are singing, more gently humming.
— Cedar Lewisohn. Curator, London.
Luxurious without bling, environmentally aware without any hand wringing, and feminine without fluff, Lucy McLauchlan’s work stands alone and is intensely rewarding.
— Steve Lazarides, Director Lazarides Gallery, London.
Street art is generally dominated by men using themes that explore the harsh realities of living in often poor and urban environments. The often cliché ridden genre of advertising, concrete jungles and concerns dominated by late capitalism are often mirrored by practioners of urban art. Lucy M brings a unique feminine line and series of motifs that offer a different approach to tackling life in the city. Rather than mirror the styles and techniques used in contemporary advertising to grab the attention of the passer by, Lucy M instead applies a more thoughtful and reflective work that gently lifts the viewer from their everyday reality rather than attempting to force the viewer into opposition of the prevailing system. In other words, she attempts to make the world a better place..and there’s no better reason I can think of for producing work in the public sphere.
— Martyn Reed. Founder and Director of Nuart Festival.
Draws like an angry sparrow stuck up a tree
— Banksy
Lucy McLauchlan’s art is unmistakably painterly. She is sincere to painting as a mark-making tradition, wherein her singular calligraphy-like painted gestures are combined via repetition and layering of colors. The result creates an adept painters vocabulary, where formal patterns give way to a pattern recognition of bodily figures that seemingly float as free as the initial painted gestures themselves. It is this trick of painting—that can turn a single gesture into the contour of a physical body—that McLachlan handles so well. It equally allows her works to expand from intimately scaled canvases to massive city-scaled installations—where McLachlan’s works become sculpture, mural, or installation alike, all while holding her singular painted gestural form at their core—no small feat when your brush is now scaled to a buildings facade. Here her figures still float as gestures as they interact with each other, but now they equally interact with the real landscape of buildings and sculpted urban detritus alike. McLauchlan’s paintings and installations are reminders of arts transcendent quality to depict bodies that float between the formal and the ethereal.
— Yogi Proctor. Curator and artist, Los Angeles.
Lucy McLauchlan’s practice is predominantly aimed at encouraging people to take a renewed perspective of their daily surroundings. Be that through her large scale murals or through her canvas works created outside. Both avenues allow the environment to permeate the artwork as she explores the transience of such interventions and the contrasts of human impact with the natural world.
— Unknown