Opening the Floodgates by Lucy

Here's a short film we made of the 90m wall finished this week. 🎥 Film by Matthew Watkins

The basin is where Harker barges delivered oil for Shell Mex until the 1960's, the only boats to travel sea, river and canal. Now a place of stillness where sand martins and swans reside. Working with Worcestershire Wildlife Trust the hope is that the mural will provide spatial references and visual clues to help direct more Sand Martins to the nest pipes inside the wall.

Diglis Oil Basin, Worcester UK ⚓️️⚓️️⚓️️ Commissioned by The Ring Worcestershire

Artmossphere Biennale Moscow by Lucy


This September I was invited to participate in the Artmossphere Biennale in Moscow. The theme for the show was ‘offline’ so I decided to explore the city without google maps in an attempt to discover it away from the usual tourist trail.

I took my canvas out to the National Losinyy Ostrov Forest, perhaps Moscow’s best kept secret as the world’s third largest inner city forest.

Away from the city’s trappings we could appreciate another version of Moscow and had time to chat to our local guide more about life in Moscow, politics, state views…with our phones turned off (not just to be offline but mainly to not be heard ;)


Thank you Xenia, everyone at Artmossphere, all the curators and Matt Watkins. The show is running at Winzavod, Moscow until 14/10/18



lucystudio1jaimerojo.jpg

The canvases were completed in the studio, adding copper leaf to reflect not the wealth of Moscow but it’s hidden treasure of the forest.


Taking the canvas out to Moscow's National Losinyy Ostrov Forest.   Photos by Matthew Watkins
Photo by Matthew Watkins
Photo by Matthew Watkins

Taking the canvas out to Moscow's National Losinyy Ostrov Forest.

Photos above by Matthew Watkins

lucystudio2jaimerojo.jpg

You can see and read more at Brooklyn Street Art, who were part of the curatoral team at the Biennale.

Photos in studio by Jaime Rojo

 Thank you to Gunel for the photo above.

Thank you to Gunel for the photo above.

Many thanks also to Biennale co-curator Cedar Lewisohn who wrote the following text to accompany the works:

‘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, with the occasional shade of grey. Her work features recurring symbols, such as birds and faces and recently has explored the abstract forms created by large brush strokes. The Huffington Post described McLauchlan’s work as “a combination of art deco and psychedelic motif and bold graphics”. In the past, the work has also taken inspiration from tribal and indigenous forms and motifs. McLauchlan often collaborates with musician in the production of her work or in its 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.’

Brownfields by Lucy

BRCposterweb2.jpg

Last week I started my residency at Airspace Gallery exploring certain brownfield sites of Stoke on Trent, where much of the ceramics industry has closed leaving empty sites. This is part of an ongoing project at Airspace’s Brownfield Research Centre in order to open up new conversations regarding brownfields across the UK.

The impact of brownfield sites hold negative and positive responses; from the absurdity of vacant space, to the unveiling on closer inspection that these spaces are teaming with valued life.

Perhaps we need to change the current perspective, maybe we are blind to brownfield sites since these fenced off areas are such a consistent sight in our towns and cities.

What has come from my week was that although I personally find these sites a place of wonder and seclusion to paint in and explore, there are others who seemingly do not even question that there is potential without the developers, for themselves or others. When we look closely it is however clear that they provide sanctuary for man and creature, with a thriving ecosystem and possibly simply serve as a breathing space.

 Whilst we leave the squares of concrete and asbestos, silently the full force of nature is infiltrating and breaking down what we have chosen to ignore.

Whilst we leave the squares of concrete and asbestos, silently the full force of nature is infiltrating and breaking down what we have chosen to ignore.

closerlook.jpg