I am delighted to invite you to our Fine Art MA show at Chelsea College of Art and Design.

If you would like a card invite please send me your address.

Hope you will be able to make it

All the best

Lady Lucy

The staff and students of MA Fine Art at Chelsea College of Art and Design are very pleased to invite you to :

Chelsea MA Fine Art 2008

Adriana Rivera . Amruta Shah . Amy Stephens . Anahita Rezvanirad . Arina Gordienko . Catherina Turk . Charlie Franklin . David Wojtowycz . Dimitrios Ameladiotis. Flora Whiteley . Harry Chrystall . Hun Kim . Hyung-Min Yoon . Ildikó Buckley . James Noble . Jamie Christian Dyson . Jarrod Sanderson . Jeanne Gargam . Joana Bastos . Jonathan Hood . Kate Brigden . Keiko Takahashi and Adam Smith . Lady Lucy . Lynn Kelly . Manuela Gernedel . Maria Lynch . Martin Lofty . Michael Benjamin Brown . Nana Sachini . Nicole Shimonek . Ope Lori . Pariya Kanasen . peiyuan jiang . Pippa Gatty . Shiho Sakaki . Shikiko Aoyama . Shintaro Yamakawa . Suki Chan . Susie Green . Tyler Bright Hilton . Yuhsuan Yao . Mike Brown . Sylvia Matas .

Private View
Please note : You must have a card invitation or print out this one.

Wednesday 17 September, 6pm - 9pm

Show Open Thursday 18 September 2008, 10am - 8pm
Friday 19 September 2008 10am - 5pm
Saturday 20 September 2008, 10am - 4pm
Sunday 21 September 2008, 10am - 4pm

Chelsea College of Art and Design, 16 John Islip Street, London SW1P 4JU

For More information on the artists :
http://www.chelseama2008.co.uk

http://www.chelsea.arts.ac.uk

I was asked by Lucy Harrison to to paint some people who were using Stratford Underground Station.
These Portraits were published in The Statford Grapevine

You can download a copy of The Stratford Grapevine from here.

Works made in 08 by Lady Lucy

Summer’s here and Space Station Sixty-Five has wander lust.
We’re packing up our booths and sideshows and heading east. Following us in their caravans are assorted freaks, bozos, glomming geeks, punks and bearded ladies. We’re pleased to introduce you to- Dominic Allan, Zoë Brown, Marisa Carnesky, Jo David, Charlie Fox, Rachael House, Sarah Jones, Lady Lucy, Mark McGowan, Alex Michon, Cathie Pilkington and WebsterGotts.

“Nothing turns heads quite like a funfair. Whether you spy the procession of lorries and caravans arriving in town or simply stumble across the riggers setting up on the common you are compelled to stop and stare. Once the fair is operating the desire to look is even stronger. The strange extreme architecture and that special glow from the lights draws you closer, to where the sounds and smells hit you. Rock ‘n’ roll and fried onions, screaming girls and diesel fumes.

The basics have really not changed in generations, but they don’t need to. The fairground plays with every sense, as the rides turn your stomach and the unusual landscape overwhelms you with a mix of excitement, fear and notions of romance. Nowhere else can we expect the chance of a quick snog, a mouthful of candy floss and the real danger of fisticuffs for some perceived minor infraction. The thrill of the ride is just a bonus.

Bringing all the fun of the fair (as well as some of the darkness) to this gallery within an east London school, Space Station Sixty-Five have picked the finest freaks, carnies and ride operators in the UK art world to spin the Waltzers and run the sideshows. Ghost Train doyenne Marisa Carnesky is on hand with the plans for her dark ride and Tim Hunkin transports the mundane to new heights for his Ride of Life, which posits the domestic setting as theme park. Alex Michon hails Billy Fury’s fleeting appearance in funfair movie That’ll Be The Day for her film loop piece Stormy’s Temporal Tempest.

Zoë Brown’s study of acrobats brings the circus sideshow into the equation, as does Charlie Fox’s bear performances, while Mark McGowan’s attempt to break a world record brings to mind that carny standard, the freak show. Both Jo David and WebsterGotts show video work that reflects the sense of fun to be had in the ridiculous and overblown atmosphere of the fairground. Meanwhile, Dominic Allan brings playful interaction to the school environment by making a model of a googly-eyed child in the Morpeth School uniform.

No trip to the fair is complete without shooting, throwing or kicking your way to some kind of sideshow prize, with the sculpture of Cathie Pilkington and Sarah Jones reflecting the bizarre items you may take home. Lady Lucy takes the role of the sideshow sketch artist and Rachael House invites visitors to sketch a clown, with both sets of work making up part of the exhibition.” Iain Aitch

Iain Aitch writes for the Guardian, Daily Telegraph and Art World. He is also the author of A Fête Worse Than Death and We’re British, Innit (which will be published by Collins on 1 September). He grew up near to the Dreamland amusement park in Margate, Kent.

Carny Town is a Space Station Sixty-Five curation by Rachael House and Jo David at Portman Gallery. For more info go to
Space Station Sixty-Five

Space Station Sixty-Five is one of the very few genuinely independent art spaces in London which has consistently positioned itself alongside the most engaged, exciting and radical contemporary practice. Long may it last!
Dave Beech, artist and critic

Space Station Sixty-Five
an artist-run space in south-east london.

65 North Cross Road, London SE22 9ET

w www.spacestationsixtyfive.com
e info@spacestationsixtyfive.com
v 020 8299 5036
m 07976 601281

Keynote to Life and It’s Insperable Works Watercolour on Wall 2008

Lady Lucy is 10 !

To celebrate this the artist is selling some of her work. Some things that are a bit like the B sides OR DVD extra’s to the main features. Others are classics.
You will find all of these things in Lady Lucy’s 10th anniversary sale. A RARE opportunity to buy drawings. prints and illustrations direct from the artist.

EVENT !
Saturday 8th December from 12- 5 pm
Unit 19, Spike Island Sculpture
Everything must go.

ONLINE !

From 1st till the 18th December.

Here on Facebook and on Flickr, Livejournal and Myspace too.

If you like the look of something please email me or message me at ladylucy.art@gmail.com
and I will forward payment and delivery instructions

Look out over the next few days for items being posted.

Link to sale items

http://www.flickr.com/photos/ladylucy/sets/72157603209402137/

Lady Lucy Links

http://www.beingll.com
http://www.myspace.com/a_project_by_ladylucy
http://www.unit2.co.uk/lucy/index.html

Exert from The Importance Of Being Lady Lucy written by Eddie Chambers
The text was published in the catalogue for the solo show Being Lady Lucy, Drawings and Sketchbooks at Unit 2 Gallery

There is something that is almost primeval about Lady Lucy’s drawings. Though she is a highly skilled and highly trained artist, her sketches might at first appear to be the product of an untrained hand and an untutored mind. Almost as if they are latter-day versions of early cave paintings. She cares little (indeed, she cares not at all) for the niceties and conventions of scale, perspective and other dictates that we might associate with the well-drawn image. There is nothing correct about her drawings. Instead, they embody what might at first appear to be a roughness and a crudeness that emphasizes the urgency of her need to draw. Her need to get down on paper that which puzzles, intrigues, charms, or interests her, leads to the creation of images that, in a multiplicity of ways, speak of and to the mixed upness, the bizarreness, the complexity, of modern life. I do of course use words such as roughness and crudeness advisedly. Lady Lucy’s drawings are after all sophisticated multi-layered and highly skillful renderings that succeed in obliging us to consider all manner of relationships and engagement that we might have with each other and with the world around us.

This exhibition features Lady Lucy’s acclaimed body of work, produced 2005-6, based on an obscure publication that she found in some or other charity shop. The World Filmography 1968 is a fascinating comprehensive guide to the thousands of feature films released around the world during that year. Using its assorted entries, Lady Lucy has produced a cacophony of imaginative, witty and thoroughly engaging drawings. Individually and collectively, these drawings tell us much about the human condition of people throughout the world in this most turbulent and seismic of years. Not from the problematic point of view of ‘fact’, or of supposedly objective observation, but from the infinitely richer and more textured perspective of the story-maker. Looking at and engaging with this series of work, we get an uncommon and truly wonderful sense of the human experience and the human potential, to oscillating degrees. Mystery, intrigue, suspense, comedy, pathos, almost as many varieties of relationships as we can comprehend, the triumph over adversity. Within Book of Books, all human life is well and truly here. And in considering the artist’s rendering of all human life, this work prompts us to reexamine and reconsider our own personal stories and histories, in the context of an endless assortment of other people’s stories, both real and imagined, released to the world in 1968. 1968! The year in which student and worker revolts almost toppled the French government of Charles de Gaulle, US troops massacred civilians in Vietnamese My Lai, Reverend Dr. Martin Luther King Jr. was assassinated, Robert Kennedy too was assassinated, and of course Jacqui Kennedy married Aristotle Onassis. 1968. The year of Hey Jude, Mrs. Robinson, All Along the Watchtower, Born to Be Wild, Hello I Love You, and Sittin’ on The Dock of the Bay. A definitive year. An intriguing year, made all the more so by Lady Lucy’s extraordinary document.

Lady Lucy’s drawings, together with the text that sometimes accompanies them, tell of a thousand and one conversations held, poignant or significant snippets of which have been committed to the pages of the artist’s sketchbooks, or on larger (or indeed, smaller) pieces of paper. At a time when process is often disparaged or set aside in favour of other ways of working, Lady Lucy’s practice represents a fresh and bold body of work that is, nevertheless (and perhaps surprisingly) very contemporary in its explorations of history, identity and culture. Drawing is, it seems, essential to her very life, existence and creativity. As she herself declares, “Drawing has become an essential ritual in my existence.” It’s rare indeed for an artist to openly declare such vulnerability and that it is this need to draw that lies behind the creating of such extraordinary bodies of work. We have much to thank Her Ladyship for.

The full version of the above text was published in the brochure to accompany the exhibition ‘Being Lady Lucy. Drawings and Sketchbooks 2004-6’, by Bristol-based artist Lady Lucy. The exhibition was at Unit 2 Gallery, London, January 20 – March 10, 2007.

World Filmography 1968

79 Pencil Drawings on pencil ( 2005- 2006)

Being Lady Lucy: Drawings and Sketchbooks 2004-2006, Unit 2 Gallery, London Metropolitan University 20 January to 10 March 2007. Curated by Eddie Chambers
Exhibition preview : Sat 20th January 2006 2-4 PM
Artist in conversation with curator Eddie Chambers
Thursday 8th February 2007 7pm at Unit 2.

This exhibition brings together several bodies of work by the enigmatic Bristol-based artist, Lady Lucy, produced over the past couple of years. The exhibition also features a selection of the fascinating source material from which the artist draws inspiration for her candid and fascinating studies of human existence, be that existence real, imagined, remembered, or meticulously constructed.

Lady Lucy is an artist like no other. Her chosen medium is drawing and to this end, she is constantly in the process of producing an extraordinary range of drawn art works. Her appetite for the act of drawing is vociferous. Never, it seems, is she without her beloved sketchbook. Compulsively, she draws at every opportunity. In the main, she takes as her subject matter people around her. People she knows, people she meets, people with whom she comes into contact, and people she observes. In the case of the people she observes, these are drawn from the printed page as frequently as from real life.

From The Importance of Being Lady Lucy, text for exhibition brochure, by Eddie Chambers