I’m currently interning with Arts Media Contacts, and jumped at the chance to visit one of the client’s studios, with Jessica and Antonia. We arrived at the ACS studios in Streatham – a grey, corrugated building, formerly a factory – to see Lucie Bennett’s new paintings. The artist greeted us warmly, and seemed un-harried as she led us down a narrow, MDF corridor to the first of her rooms. There was no sign of the warehouse’s other inhabitant’s, except for the occasional clunk, and metallic thud coming from behind closed doors.
The moment we stepped into the drafty white room, we were immediately struck by the lustre and vibrancy of the paintings: like hot-house flowers shooting up from the concrete floor. Slowly we began to take in their texture: curved outlines furtively catching the light, blurred reflections playing on the aluminium background, and tactile apertures that invite you in. Once we’d experienced the surprising mediums, Bennett was keen to describe the creative process, and to show us her working environment.
Brushes are vacuumed to ensure the smooth application of paint.
After dodging a hoover that was lying on the floor, Bennett explained that she vacuums her brushes before each piece of work. This is to ensure the smooth application of sinuous lines – something which can take several hours at a time, in single painstaking movements.
The next thing we discovered were the tins of household emulsion. For Bennett, there’s no neurotic mixing of shades: just assertively selected colours, straight from the tin. This, along with the stridently wrought shapes, and cold aluminium, provides not only aesthetic punch but intriguing friction with the references to nature and femininity.
No neurotic mixing of colours, just bold selections of DIY gloss.
As far as female sexuality and identity are concerned, Bennett cites Cindy Sherman, Chris Ofili, and Jeff Koons as some of her influences. But amongst the kitsch, and idealised images of the female body that hang on her walls, it was interesting to see her initial sketches, which were based on photos she took of herself.
Lucie Bennett's Walls
Pictures of various flora and fauna had also managed to creep their way up the walls, most of which were taken from Ernst Haeckel’s ‘Forms in Nature.’ As Bennett flicked through the earnestly etched plants, it was humorous to observe the plastic sheeting that hung down from the ceiling, and gave the studio the appearance of a poly-tunnel.
Horticultural drawings, or an excerpt from 'Gray's Anatomy'?
Intrigued by the similarity between Haeckel’s horticultural sketches, and anatomical drawings in ‘Gray’s Anatomy,’ Bennett set about creating the same synergy in her work. Apparently this was no mean feat, requiring the confident re-rendering of familiar shapes into architectural lines.
Having done just that, Bennett is now studying the internal organs, with their strangely alien forms. It will be fascinating to see where this takes her in her future works, but for now she is adding the finishing touches for her exhibit in two weeks time.
Internal Organs: Inspiration for Future Works.
Lucie Bennett’s exhibit, featuring 12 paintings and 5 prints, will be at the Menier Gallery in London from 27 September – 2 October.
For a preview, visit Lucie Bennett at http://www.luciebennett.com/index.html
