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



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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

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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.’