May 18, 2025 • 41 mins
Lucia Jones, a Welsh painter with international exhibitions and prestigious recognitions, discusses how her artwork explores the female experience through memory and identity. Her paintings, which often feature women with obscured eyes, serve as vessels for viewers to project their own experiences, creating connections that evolve with each viewing.
• Supported by women throughout her life, Jones now creates art centered on women's experiences
• Uses cinematic imagery and found photographs to create anonymous female figures that any woman can identify with
• Employs layered painting techniques to create fractured environments that represent memory and emotional states
• Explores performative femininity and the consciousness of being seen through her exhibition "Spectacle"
• Creates paintings that change meaning with repeated viewings, allowing personal interpretation to evolve
• Examines liminal spaces where women exist between their public and private selves
• Uses color symbolically, particularly green tones that can be both isolating and calming
I want my work to be a safe space for women to feel what they're feeling deep down. Art should be for everyone—a space of inclusivity and expression. The key is making work that people can connect with; that's what gives art its validity and purpose.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hello everyone, this is Steel Roses podcast.
This podcast was created forwomen, by women, to elevate
women's voices.
I am very excited today tointroduce you to our guest.
We have Lucia Jones with us.
She is a painter based in Wales.
Since graduating from FalmouthUniversity, she has exhibited
(00:20):
internationally in solo andgroup exhibitions, most recently
completing an artist residencyin Virginia and exhibiting in
New York.
Jones has also been long listedfor a number of art prizes,
such as John Moores 2020, 2018and 24, as well as Jackson Art
Prize 2022 and 2023.
Her work is held in privatecollections in Australia,
(00:44):
austria, hong Kong, mexico, theUK and the USA, and she was
recently acquired by a publiccollection, which information on
that is soon to be released.
Welcome to the podcast.
Thanks for having me.
Speaker 2 (00:58):
Jenny, it's lovely to be here.
Speaker 1 (01:01):
And you know what?
I didn't ask you actuallybefore Lucia or Lucia.
Speaker 2 (01:06):
Lucia, but Lucia, you actually before Lucia or Lucia.
Speaker 1 (01:08):
Oh, Lucia, Lucia.
So Lucia, I want I I have a lotof gushing that I want to do
about your art, but I'm going tohold that back.
I'd really like you tointroduce yourself to the
listeners and let them knowabout your journey, how you got
to where you are with being anartist, how you knew that you
wanted to lean in there, andthen also we'll talk a little.
Speaker 2 (01:29):
Know about your journey, how you got to where
you are with being an artist,how you knew that you wanted to
lean in there, and then alsowe'll talk a little bit about
your process and some of theindividual pieces.
Okay, great.
Well, I think from a young ageI was always creative and when I
was thinking about coming onthis podcast, I was thinking
about this sort of journey I'vebeen on and it has actually been
led by the women in my lifethat I've ended up in the career
that I am.
(01:49):
I was very fortunate to have agrandmother who took me to
museums and a mother who sort ofbuilt that interest in art and
creativity and allowed it toflourish.
It's quite a dicey career toget into in terms of financial
stability, but they've alwaysbeen these cheerleaders in my
life.
So it's quite poetic for mereally that my work has
(02:11):
ultimately ended up being aboutwomen and about that female
experience.
So that's how I've ended upwhere I am really, and my work
itself, as I said, is about thefemale experience for me.
When I was, when I startedpainting properly I say properly
, but like at university, whenyou're really kind of trying to
establish what your inner voiceis trying to say and what work
(02:33):
you want to put out into theworld I almost shied away from
the self because you don'treally want to talk about
yourself in your artwork.
A lot of artists are quite thesame or quite introverted, and
it was only through goingthrough that process of
university and over like thelast 10 years I realized that
that is where my work lies andit's about my engagement with
the world and what I was sort oflatching on to finding
(02:57):
interesting was exploring thesesort of female experiences and
they're kind of unique in a wayand how we engage with the world
collectively.
There's how people are readingthe work, and it was leaning
towards women for a long time.
So, um, yeah, I've kind oflanded in this space now where
it's a more informed, uhcommentary on those experiences
(03:19):
and sort of allowing this innerworld out there that other women
can engage with, because Ithink we've all sort of treaded
these liminal spaces that are inmy paintings from time to time,
you know.
Speaker 1 (03:30):
I love how you got to where you are.
That's part of the storybecause you had the support of
people saying, like you know,you should go for this.
And it's interesting because alot on a lot of other episodes,
the creatives that have come onhave flat out said, like nobody
was supporting this, everyonepushed me in the opposite
(03:52):
direction and, honestly, like alot of the creatives that come
on, didn't return to their artuntil they were much older
because they were pushed intocorporate, you know, or pushed
into, you know, a traditionalquote, unquote career.
So I do want to commend you onreally focusing in here and
(04:14):
establishing yourself as anartist, because that in itself
is very hard and I will admit,like hands down, because I
dropped my whole creative likereally long time because, again,
I was pushed into the whole.
You know you have to make money.
You gotta, you gotta go for it,you gotta go for the money.
You can't be like foolingaround.
I'm, like you know, it's alittle bit sad because there's
(04:34):
probably a lot of people thatare very, very talented that
drew back and were like, well, Ican't do this, it's not gonna,
it's not gonna bring in the bigbucks.
So, like you know I love thatyou have gone as far as you've
gone and I love that your workis now being recognized and I
had explained this morning andlisteners.
So when Lucia and I connectedfor our intro call, I looked
(04:56):
through her pieces and I waslike, oh, I like a couple of
these I had.
You know, I walked away fromsome of them feeling like, oh,
this one looks a little bit sad.
Walked away from some of themfeeling like, oh, this one looks
a little bit sad.
This one feels like a littlebit more, like it's fun and
inspiring.
And today, before we recorded,I opened the pieces back up.
There's a virtual gallery, soI'm going to link everything in
the description of the podcast.
You can all check it out, butshe has a virtual gallery and
(05:18):
when I looked again this morningI walked away with like a
different feelingcia is that?
Is that quite common like?
Is that a common thing forfolks?
Like when they're viewing theart, like they walk, they see
different things in it everytime they see it yeah, it's,
it's.
Speaker 2 (05:34):
It's funny really, because some of these paintings,
like in my recent show, they'vethey've been a few different
places and it quite oftenhappens with artwork that some
paintings they stick with you alittle longer and they go in
various shows or they're inshort lists and whatever.
So they get displayed invarious audiences and you get
all these different reads on thework and, like we were
discussing earlier, sometimes Iget a different read after being
(05:56):
away from a painting for a fewyears, like and I say away as in
, like when you're working on it.
I tend to work in series.
There's usually like six orseven on the go and they're all
chatting with each other.
I treat them like people almost.
They're all, all inconversation, they're, all you
know, bouncing off each other.
But when they're put inisolation, so I say, like in a
show, on a wall and they've gotspace around them, and then
(06:18):
people come up to them and theysay, oh, I see this in this or
you know, I've been, I feel,drawn to this painting, you
think, okay, so you're seeingthat, whereas I was coming from
maybe a different headspace orsomething.
I kind of love that about mywork, in that people read these.
They put their own memories andtheir own experiences onto the
paintings and onto the women inthe paintings, because they are
(06:42):
in themselves ciphers for memory, but they're not, you know.
So I say they're directlycorrelated to my own memory,
which they are, my own personalhistory, but by using found
imagery for these women andthey're kind of like there's
this disconnect, but then youcan like hang yourself upon them
if that makes sense.
So I paint from films a lot andum, there's quite a lot of like
(07:05):
Liz Taylor's floating around mywork which have been obscured a
little bit, you know, and thatsort of means onwards sort of
era cinema.
But by taking them from theiroriginal context and painting
them and sort of throwing theminto these fractured
environments, they become thesehangers almost for putting your
own self onto them.
So yeah, it's part of the workin a way for me and it's
(07:26):
exciting just seeing them changefrom space to space, you know.
Speaker 1 (07:30):
It is very, it is interesting.
I actually like the one, so letme pick one out, the one that I
had just talked with you about.
So the name of the paintingitself is I Can't Fit Into this
Dress Anymore.
Which listeners, you allmight've gotten a chuckle just
there.
But because it is, it's, it'salmost like you.
And then you try to picturelike, well, what could Jenny
possibly be talking about?
Like what, what is thispainting painting appear up.
(07:52):
It's a very moving piece because, you know, it's a little bit of
a darker framework.
The colors are on the darkerside and it's a woman who's you
know, looking into a mirror ofher.
You know vanity and you couldsee that she's has an outfit on,
but it's not quite zipped upall the way.
The title is an obvious title,but looking at the piece itself,
it it draws all these differentemotions.
(08:16):
Now, the first time that I sawit I I guess it was very topical
for me and I looked at it I waslike, yeah, she can't fit into
her dress.
Oh, it's sad, the colors are onthe darker side.
But today when I looked at itand maybe it's also because of
the time space in between, Idon't know, maybe it's because
I'm in a different headspacetoday.
Maybe if I look at it again ina month it's going to feel
different, but today when Ilooked at it it didn't feel sad.
(08:47):
It felt and I don't want to sayinspiring, but it felt almost
calming to look at it, becauseshe doesn't seem upset to me in
the painting anymore.
Now it seems to me that she'salmost like just like, yes, this
is me and that's how I felttoday when I looked at it.
So I was curious about thatpiece and your development there
, your color selection almosttoo, because the green gives me
a different vibe than you know,like a red would have given me a
(09:08):
totally different look.
So I'm curious about that pieceum, yeah, I love this one.
Speaker 2 (09:13):
Um, so it's inspiration.
My source, imagery wise, wasfrom the film Blade Runner and
also this photo of Sophia Loren.
I'd seen um on Instagram justscrolling.
You know I tend to grab a lotof things from my sort of
peripheral visual where you knowyou just actually do on
Instagram.
Anyway, blade Runner is a filmI've revisited several times in
(09:36):
my practice.
I just love it visually andRidley Scott's just amazing, and
every scene in the film in theoriginal it's like a painting.
So visually it's just like I'mlike a magpie, I'm like, yes, I
love this and I love that sci-fias well.
But the the context of the filmand it talks a lot about memory
and what memory is and howmemories make us humans.
(09:56):
Essentially, one of themessages within that for the,
the main female protagonistanyway, she's an android but she
thinks she's human because ofthese memories have been put in
her mind.
So that's kind of like in thebackground, sort of artsy, kind
of like where, why I selected it?
But this scene it's anabandoned room and I just
thought I quite like thisfeeling of emptiness.
(10:19):
And there was this light justin the corner and I thought,
well, I quite like the idea ofthere being this sort of
symbolism, with this light beingon.
It's like hope, it's like anidea.
It's it which is where thiskind of change, I think, and I
find looking at the paintingcomes from, because you can read
(10:39):
so many things into the thingsthat are included and you know,
like a mirror, you're looking atyourself.
Are you judging yourself, areyou getting yourself into the
position doing your makeup,where you're ready for the world
, putting your mask on, you know?
So, yeah, that's kind of whereit is in terms of headspace.
But I quite like this, like yousaid, this sort of thing of
she's content in a way, becauseinitially, when I was painting
(11:02):
it, a lot of the work is aboutmy own personal history and
you've all been there, kind ofyou put on something that you've
had about six years ago.
You can't get into it anymore.
But I'd come to a point in mylife when I painted this where
it was almost like I realized afew things and consolidated a
few things about myself and howI feel about my own body, about
where I am in terms of, like, mycareer choices and things, and
(11:24):
it's, you know, releasing thatinto the painting, you know, and
it's I can't fit into thisdress anymore.
Okay, where do we go now?
Kind of thing.
And it's a quite lonely placeto be.
But it's also quite aliberating place to be.
And you know, the choice ofgreen green was in the original
image but, um, I work from.
But it's also quite aninteresting color.
(11:45):
It can be quite isolating andquite calming at the same time.
It's like a forest.
You think of this visceralreaction to the color green.
It can be so many things andit's not like in a set space, if
that makes sense, whereas redis very solid and it's very much
one note.
Speaker 1 (12:06):
You know You're right , green is very fluid.
You know it's funny.
At work, in my daytime job,I've actually said to people
like please don't, if you usered font in like an email to me,
I'm going to assume thatthere's an emergency.
I'm like I didn't, please like.
And then if you and I and I'vesaid that I'm like red
highlights to me mean like thisis bad and I'm like can you
(12:26):
please just put green, blue,like use any other color.
Yeah, red is very like alarmingand for obvious reasons, like
it's not very, it's not like adeep, deep rooted thing.
It's obvious.
You know, as you were talkingto and I I maybe maybe that's
why it feels different to me toonow, because, as you were
talking, I can't fit into thisdress anymore is to me now I'm
(12:50):
thinking like it through, likemore topical, because it's also
could be like the dress issymbolic for your life.
I'm not fitting into thisanymore and you're kind of just
like looking into the mirror toreally really see yourself to
say like this isn't for meanymore.
I'm ready to go.
Speaker 2 (13:10):
Yeah.
Speaker 1 (13:11):
Yeah, I very, very much like this piece this
morning, kind of I think I saidit to you earlier like knock the
wind out of me and I'm like, ohmy God, what happened?
Speaker 2 (13:22):
Yeah, it was a wicked way.
I love painting it and it waskind of a challenge for me as
well, which I quite like.
So it was like bursting forthinto this new frontier of what I
was doing.
In terms of the materialqualities of the painting, the
lace curtain on the side I'vebeen sort of gravitating towards
curtains for a while and I justlove, again, the symbolism of
(13:43):
them.
They can be used to like reveal, conceal what's behind it,
what's going on.
You know, in more recent workwhere I'm looking at like
performative femininity, it'slike the staging and this kind
of like ta-da.
I did one painting which wasjust like, um, it's a bit of a
joke really, but it's thesecurtains, and then there's this
black void in the middle, um,and I think they called it yeah,
(14:04):
here we go again.
It was kind of just like ta-da,like I got nothing for you, or
like ta-da.
This is what it is, you know.
Anyway, back to this one, thecurtain.
I use a vinyl cutter to createlike shapes within my work and
get this sort of really crisp,clean kind of edge to a lot of
the areas of the painting.
So I thought, as I usually do,I try and I try and go for all
(14:29):
or nothing I'm going to do.
A lace curtain drove meabsolutely crazy, but in the end
it worked.
So it was kind of like oh, Ican actually fit into this new
space of painting, which Ididn't think I could achieve,
you know.
So, yeah, meanings of thepaintings they just change and
change and they just keepgrowing for me.
Speaker 1 (14:46):
So it's quite nice to look back on it you know you
referenced your other piece, soI do want to talk about this one
too, because I didn't mentionit earlier.
But for here we go again.
So for listeners, I want you totake a look at the, the virtual
gallery, so you can seeeverything that we're talking
about.
Here we go again.
So it literally is like acurtain stage, like parting,
like that, like it's the openingshow, and I saw it and, yes,
(15:09):
like the middle of the blackvoid.
But I don't know why I caughtthis feeling of like this is how
I feel every single day, likeyou're about to put on this big
show, and not so much like, okay, here we go again.
Like, oh my God, all right,here we got to go all over again
.
It's almost more like in those.
So in the mornings I get up andI'll meditate, or do I just
(15:32):
quiet, read, like I do things inthe morning.
That's just like Jenny.
Jenny by herself is Jenny.
The here we go again.
Painting made me think about how, okay, I usually will have to
set an alarm for myself to say,all right, jenny, like this is
your Jenny space.
But as soon as that alarm goesoff, you have to go and be mom
(15:53):
and be a professional and be awife and, you know, do all the
things.
And the black void in themiddle of this painting to me
was more of a hey, jenny, nowyou're going to put all your
other hats on and you're goingto go and do your thing and then
there's going to be a curtaincall at the end of the day where
you can just be Jenny for alittle while again.
And it sounds a little strangethe way I'm saying it, almost
(16:13):
like I don't know how to, Idon't know.
I think all the moms that arelistening right now are all the
women listening are probablylike yes, we get you, because
there is a part of us that'slike we have to wear so many
hats during the day.
And I've often said you know,angrily, by the way, I've often
grumbled this really angrilythere's not a minute of my day
that's not accounted for there.
(16:34):
Every minute of my day iseither it's going to be to my
professional life, to, you know,my family, to my husband, like
to cooking, to the clean, youknow, whatever well, actually
not the cleaning, I'm not doingthat anymore.
But you know there, you knowit's accountable.
I'm accountable for everyminute of the day to somebody
(16:54):
else and so to have a momentbehind the curtain, that's just
Jenny back there.
It's a very powerful thing.
So I saw that and it's funnythat you like you made that
through line just now.
But I'm like I I saw them likewow, I'm like, if you really
think about it, like this isn'tjust, it's not just curtains
Like this, is you like openingup your?
You know, I'm ready to go, likehere we go.
Um, yeah, I thought that wasvery interesting.
(17:15):
There was another piece herethat I wanted to explore a
little bit with you.
No, say honey, go tell Poppyplease.
The other piece give me onesecond.
The other piece, um, is, giveher a minute, she'll be back.
This one I like brought to youright away when we, when we
hopped on, I was like I need toshow you these pieces that like
popped out at me today.
(17:36):
So, yeah, in this image, um,you can, you can see it when you
, when you're looking at it,that you're basically inside and
you're looking out windows andto me, I saw this and
immediately thought of my homeoffice, and there are quite
often times during the day where, if I'm like really overloaded
(17:57):
or really busy with things, likeI will take five minutes and be
like, all right, when's my nextcall, when's my next thing, and
I'll go and sit outside in thesun like, all right, when's my
next call, when's my next, youknow thing, and I'll go and sit
outside in the sun.
I actually like I will takelittle like little vitamin D
breaks, basically, and be like Ineed to just get away from my
space for a minute and just takea deep breath and like kind of
reorient myself because I meanI'm like a constant, like I'm on
(18:21):
and I'm very busy right now.
So I'm like constant.
And so, looking at this piece,the colors themselves, the
colors inside the space are verybright and almost like we're
bright, we're popping, we'rehere, we're busy, we're doing
things.
And then you can see in thebackground again the calming
greens, and you get the imagealmost because you can't quite
(18:46):
see her.
But there is someone back there, hidden partially by the
greenery, and to me this isalmost like a calming moment to
see that, because immediately Iwas like that's like what I do
To take a step outside of yourspace, where everything's loud
(19:07):
and again where you'reaccountable for everything, and
go and take a step away intosomething that's peaceful, to
just take a minute, and thenyou're going to come back and
you're going to do your thing.
That I like.
I, yeah, went through so muchlooking at that painting, but
when you read it like exactlyhow is it intended really?
Speaker 2 (19:24):
it's just give her a minute, she'll be back.
It's kind of like my paintingsare almost not like.
They're sort of like things youwouldn't say out loud sometimes
and it's like just give me aminute, I need some headspace,
I'll be back.
Like just two seconds almost.
So she is just sort ofwandering this sort of heat and
like just getting a minute awayfrom herself.
But what's quite interestingwith this one as well is quite a
(19:45):
lot of people.
They do miss this little Easteregg.
There's a woman right in thevery bottom left corner there's
a little glove and she's quiteabstracted.
Oh my gosh, I didn't notice that.
Yeah, she's kind of my littleEaster egg in there.
It kind of, for me, brings thework back to this almost
awareness of self, and you'relooking through a window at
(20:07):
yourself.
So she's off on her own, butyou're very aware of what you're
doing.
I think, as women, we're veryaware of what we're doing with
all the times, like you said,this, like every minute's
accounted for, you know, and howwe're perceived.
So it opens up the conversationdown that angle as well.
Speaker 1 (20:22):
But it's very much a painting of just give me a
moment, I just need to be youknow, I wonder if I would have
gotten there eventually, becausenow, as soon as you said that
I'm like well, now I'm lookingat this totally differently.
This is like her psyche took abreak and she's still in there
doing the thing, but like shementally like oh my god, now
you've got me I love doing thatto people.
Speaker 2 (20:42):
When they watch this painting, I go oh, and this one,
and this one.
Speaker 1 (20:44):
They go oh, can you see, I was like, yes, now I'm
looking at this totallydifferently.
She is concealed, but she isalways there.
Wow, oh my gosh Now.
Well, now it's like a wholeother meaning to me, because
that's the other part of it too.
The other element is, yes, likeI could be here present doing
(21:08):
all the things, but my mind isconstantly like, okay, on these
other hundred things that, likeyou know, or even like taking
that mental break, oh my gosh,now I'm going to have to take
another minute.
Oh my gosh, yeah, give me aminute.
Man, you know, yeah, I, whatyou've done here with creating
these pieces and listeners.
(21:28):
I really encourage you to takea look through them and almost
like bookmark it and then goback, because it you get a
different look every single time, or you get a different feeling
, or it tells a different storyevery time you look at it, and
it's such a honestly, what atremendous gift you have.
I don't think that's, yeah, atremendous gift you have.
I don't think that's yeah, Ihonestly like I don't.
(21:48):
It's not common and you shouldbe proud of yourself for this,
because this is something thatone, many of us, many people who
are creatives, will step back.
Obviously, like I said thatearlier, for traditional careers
, and then there's a lot offolks that wish they could tell
this story, the way that you didand be able to pull these, all
(22:09):
these little elements.
Now I'm staring at the hand ofthe glove and I'm like having a
hard time because I'm like, mygoodness, there's all these
other things that you could pullthrough into this painting and
all these other feelings.
That's such an amazing thing.
Speaker 2 (22:21):
Well, thank you, I just yeah.
I hope that the book as well.
Well, thank you.
I just yeah.
I hope that the work as well.
It allows people to get intheir feelings a bit and it
allows a safe space for women to, you know, feel what they want
(22:42):
to feel what they're feelingdeep down, you know.
So it's from me, but it existsin its own space that people can
connect with then.
So it's, yeah, I hope that thework um does allow people to do
that, and that's something Isort of came to a realization
with at university.
It's very much when you go tocar school, you're like I want
to be the next Lucian Freud Iwant to show in the tape, blah,
(23:04):
blah, blah.
You know, I want to.
You know all these like amazing, like dreams, and you should
have that mentality.
When you go in, you should belike, yeah, I want to be epic, I
want to do this, be the bestartist I can be, and I did that
for a while and you end up likeimitating a lot of artists and
you learn that way.
So it's part of the process,you know.
But, um, you suddenly reachthis.
I think it was one of my tutors, mark Seragis, an amazing
(23:27):
painter.
Everyone should go check himout.
He's fantastic.
And what kind of artist do youwant to be?
It's the second year when youknow things get serious and
you've got to start thinkingabout your dissertation and all
this kind of stuff and I said,well, I want to make work that
people can connect with.
And I think that's when you getto that point, that's when the
work suddenly starts to click, Ithink and it's taken me 10
(23:47):
years even from that point tosort of really fully embrace
that and it doesn't reallymatter how successful you are in
terms of finances and stuff.
All of us are great and amazingand sort of accolades and
things.
As long as you're making workthat people can connect with,
it's got validity, I think.
And it's got validity, I think,and it's got purpose.
And I think, like a lot ofartists, there's some artists
(24:09):
this one has recently passedJack Vectriano.
He's an amazing painter andhe's self-taught and he's um,
he's beautiful, almost 1950s,40s scenes of women and couples,
all sorts of very romantic, youknow, absolutely sort of shut
down by.
You know the typical sort ofthe art world.
You know the sort of that stampof validation, but his work
(24:30):
speaks to the general public andyou know if you can hit that
kind of if anyone's wants to belike an artist or anything, hit
that sort of crossroads of youknow, the general public and
responding that's what you want,really, because art's meant to
be for, you know, everyone thissort of space of inclusivity and
expression and it's it's meantfor everyone, you know.
Speaker 1 (24:50):
So yeah, I you touched on something there,
though, that I think that I wantto, I want to highlight and it
was really there's, there's parthere where you do want it to be
for general public consumption.
Obviously you want to hit anerve, but you also want to be,
like, true to yourself.
Like what?
What is, what is the messagethat you need?
What's the story you need totell?
What's the message you need totell?
And for you, as an artist, thatwill probably shift throughout
(25:14):
your life.
You know, like I mean, I'mcertain, like your pieces must
be so like different, totallydifferent from, like you know,
year to year, decade, year,decade, decade, even like month
to month, because, like I mean,my reaction changed from the
first time that we chatted to.
Now, I mean, my reactionchanged to it, so I can only
(25:36):
imagine how long does it takeyou to like from start to finish
, and is it really start tofinish?
Like, is that the journey?
Or do you ever have a piecewhere you're like I don't feel
like this is done, but it isdone, kind of like?
Speaker 2 (25:47):
yeah, it's overall like your art practice.
It's very non-linear, um,there's a lot of like loops and
circles and you end up on it'slike a roller coaster slash,
sort of cross-country wanderingdown lanes kind of feeling to it
.
So you end up circling back onyourself quite a lot and it's
recognizing those patterns andthings that you keep circling
back on yourself quite a lot andit's recognizing those patterns
and things that you keepcircling back to.
(26:09):
I think that's that's what yourkey message is, I think, and
it's something that will keeprefining and coming through in
your work.
And I think, as you create morelike the key to refining your
practice is just making it.
Unfortunately, that's the way.
There's no, there's no quicksort of jump across or anything
like that.
It's you just got to keepmaking work and some of it's
(26:30):
going to be a bit rubbish, someof it's going to be okay.
You know, a lot of mine end upin like this sort of corner of
shame in my studio.
They're just like no, Iabsolutely like I turn them
around, I'm like, I'm like, lady, you gotta go, like I'll do it.
But they sometimes getresurrected and brought back
into the fold, you know.
But yeah, that's how.
So I find the key message andit's a process of filtration as
(26:52):
well, and the more you paint,the more you learn, the more you
get better, or what you'redoing it comes down and boils
down to these key kind ofthreads, you know, and that's
how I see it anyway.
But for me, yeah, there's a lotof.
I tend to have an idea of somesort of thing I want to explore
or understand a lot of minorquestions.
(27:13):
So, say, I've got, like my soloshow that came up recently in
Oxford Spectacle, where a lot ofthese works are from, um, a lot
of it there's a question ofsort of why am I interested in
these sort of performativecharacters, you know, and what,
what am I trying to get at?
And what I was trying to get at, it turns out, was sort of this
idea of being seen and how werespond to that idea of being
(27:37):
seen as women, and theperformance sort of side of it
was feeding into this idea ofperformative femininity and how,
like with a lot of women Ipaint, they have these sort of
masks, slash no eyes thing goingon.
I did.
I noticed, yeah, um, andsomething like, oh god, so
brutal.
And I'm like, well, yeah, it isa bit.
But you know, sometimes youreyes are terrible to paint.
(27:59):
Anyway, that's another sidestory, but a lot of it's about,
like it was this idea of beingseen and being conscious of your
actions and kind of playing onthat sort of adage of the eyes
are the windows to the soul andthis kind of thing.
So you know, you kind of as youmake you understand and then
you kind of get to the point ofwhat you're trying to question.
That was a very roundaboutanswer, but yeah, it's kind of
(28:21):
questions and answers.
It's my process, like why am Idoing this?
Speaker 1 (28:25):
You know questions and answers.
It's my, my process like, whyam I doing this?
You know, I tell you, I know Idid notice, like the theme
throughout, where you do havelike the, the wrap basically
over the eyes, or the, the gapin the eyes, and um, and it
almost well, listeners, just youhave to go look to see it but
it looks a little a bit like aface mask, like across the the
top of the face.
But I didn't see that, as youknow, like a missing piece.
I didn't see it as as somethingnegative.
(28:48):
I actually saw it more as a.
This could be any of us.
This is all of us all of us fitinto this.
That's why there's this missingpiece here, because we are all
this person and we can all fitinto this scene.
Everybody could fit into one oflike.
That's actually how I looked atit when I saw that.
Was that the intention?
Speaker 2 (29:06):
yeah, I started.
Yeah, it's because I startedworking with like cinematic
imagery and obviously, like youhave, like famous actresses, and
part of it was like creatinganonymity in the figure because
I didn't want them to have thecontext associated with, either
like the film directly or, youknow, the actress themselves.
So that was where it came from.
But it has become, like yousaid, this thing of it can be
(29:28):
anybody and as well the mouth isquite emotive and I think it
can often be more emotive thanincluding a whole face and it
leaves this sort of room forinterpretation.
And the way I sort of like cutthe space out as well, it's like
the space around the figure islike the headspace almost.
It's like a continuationbecause of the way I paint and
the layers I put down's.
Like the space around thefigure is like the headspace
almost.
It's like a continuationbecause of the way I paint and
(29:49):
the layers I put down, like thelayers are painted in isolation
as well.
So there'll be like almostshards of different like ways of
painting on the surface.
So, yeah, it all kind of again,it all feeds into itself and
then you start to realize theselittle niggers come through, you
know, and they become yourpractice.
Speaker 1 (30:07):
You know, I honestly like I find them very moving.
I love that you focused on onwomen and our stories and really
like the, the idea andeverything that we go through.
Because if you look through thepieces and listeners again,
like I really encourage you tolook and then take another look
in like a month, because thepieces themselves, like it's
(30:29):
funny because the what?
When I first looked at yourcollection, not all of them
caught my eye and today when Ilooked again, I was like oh,
there's like a whole bunch inhere that I really resonate with
.
Like what, what happened overthe?
What did I do to myself overthe past like month or so, or
two, two months that we werelike that all of a sudden, like
all these pieces are jumping offthe page.
So it's, you are definitely, Ithink, hitting a tone here and I
(30:55):
think you really are.
If you haven't, I know that youhave big news that you're going
to release in the coming monthsand weeks.
But I mean, I really highlyencourage everyone listening to
take a look through thecollection and honestly just see
it, because this kind of artfrom Lucia is so important and I
(31:16):
think that it really highlightswomen and what we go through
and you can pull something fromeach.
I mean I'm looking at do youwant to form an alliance with me
?
And it's like I'm like, oh myGod, I'm like these pieces are
just like they really do speakto you, they really do.
And I actually really love thetitle of your exhibited works
here Spectacle because it allties through there and it's
(31:44):
almost like, oh well, don't makea spectacle of yourself.
But at the same time, womenthemselves are something to me
admire.
Obviously I'm going to say that, but there's an admiration
there of like women in general,and I'm not talking about like
women up on the silver screen,women in like high and mighty
places.
I'm like the everyday woman isis a sight to be seen because of
the amount of things that we do, because of the amount of
(32:06):
things we carry on our shoulders.
This is quite.
This is something you know.
And and calling your, your,your, your exhibit a spectacle,
I thought that was like reallycool too.
I wanted to tell you that.
Speaker 2 (32:16):
Well, thank you, yeah , it's.
It's interesting that you saidthat as well because, like,
throughout as you're making thework, and again it's this
process of going through italmost as you're making it,
seeing what you're getting at,and the painting that you
mentioned, um, do you want toform an alliance with me?
Absolutely, I do.
With the last one I painted,and it was like this
re-ownership of the spectacle,and it was like, yeah, we're
(32:37):
taking ownership of this.
Yeah, you caught saint up yourspectacle.
How about I am a spectacle.
What are you gonna do about it?
You know of the spectacle.
And it was like, yeah, we'retaking ownership of this.
Yeah, you caught the saint up,be a spectacle.
How about I am a spectacle.
What are you gonna do about it?
You know, yes, yes.
So yeah, it's, it's a, it's acracking one.
That one I really um, well, Itook the title from, like, as I
usually do, somewhere random, soit's from the office, and it
was with dwight and um and umthat's funny yeah, basically, um
(33:02):
, I can't remember thecharacter's name, that's kind of
Jim, and he's saying do youwant to form an alliance with me
?
yes, um, I think I got thatright.
I just thought that's hilarious.
I often write down my titlesand come back to them, you know,
but, um, in the painting it wasthe women were from a film
called Wasp Woman, which is likethis bananas kind of B-movie
(33:23):
from the seas, and this is aside story.
It's quite fun, but you shouldwatch it and it's um, this woman
owns a beauty company and she'sbeing told by all the men and,
of course, if she's getting tooold, so she can't, you know, be
in charge of the company thatshe's put together she ends up
using, like wasp fest extract tobecome beautiful again, which
is obviously done by like takingher glasses off, because you
know that's how it works incinema and she ends up like
(33:46):
basically turning into this waspwoman and it's like a rb movie
in it.
But, um, the women were thesereceptionists.
Now, moonlight is areceptionist for like, all my
art career and I continue to doso.
She got to pay the bills, likeyou said.
Yeah, you gotta keep the lightson you know, you can learn many
from art, but it's neverconstant, you know, and I just
love these women because theywere just extras, but they were
just so fabulous and they werealways like you know, it's just
(34:09):
this look of, and they justcommanded the scenes.
I was like, right, you're goingin the painting, you've got to,
I've got to, I'm gonna make aspectacle of you, you've got to
go in there.
And then I was listening all ofa sudden, my works are quite
chaotic sometimes I waslistening all of a sudden, my
works are quite chaoticsometimes.
I was listening to a lot ofWestern music at the time, like
old West kind of like countrymusic.
It's like desert in thebackground.
I was like, right, ok, I seewhere this is going.
(34:30):
Now it's becoming like aMexican standoff painting to
like finish off the show, youknow.
And then I included this littlepainting in the background which
is like, really just aboutthere, it's Manet's Olympia,
which is in itself.
If you're not familiar, gocheck it out.
It's a wicked painting and itwas painted by Manet, rejected
(34:52):
by, like, the salon you knowthat it was going into and
whatever.
Everyone was like, oh my God,this is like scandalous.
So I was like perfect, you'regoing in my painting and it was
of a woman.
It was a very interestingpainting in that it kind of
ducks the convention of the timein that women were often
painted in the male gaze, whichis obviously looking fabulous,
(35:14):
draped over things and justlooking beautiful and wonderful.
And it's a transcription initself, which is what kind of
what I do in terms oftranscribing images and all this
.
So there's loads of layers toit, um, but it's actually a
painting of a woman who everyonethinks is actually a prostitute
, but she's being put in thisposition of spotlight and, like
you can see why the salonrejected it.
(35:35):
But I thought, you know she's areal woman.
Yeah, you can just go pop in mypainting.
It kind of just all reinforces,kind of like I am the spectacle
.
Yes, I am here, you know, comelook at me I'm here and I'm not
leaving.
Speaker 1 (35:52):
Yeah, I'm real, I'm not going anywhere.
Speaker 2 (35:54):
You can come take a look if you want yeah, I'm
making my own money.
I am who I am, you know, and itlike, do you want to join me?
Basically to other women, whichis, you know, it's the female
empowerment kind of feeling.
So yeah, I'm glad you mentionedthat one.
She's my latest and one of myfavorites, you know.
Speaker 1 (36:11):
I do very much feel like the empowerment vibe coming
out just and even like thelooks on their faces is very
like.
You can sense the almost likethe severity in their faces and
their looks, that they meanbusiness and there is like you
can see the softer side, likeyou can see it a little bit, but
(36:31):
you can.
Especially in the blonde womanyou can see it's very
interesting the way you did herface because you can see the
softer side.
But you also see with that onevery arched eyebrow like I will
take you out if I need to.
So don't like, don't come tolike.
It's very yeah, you get a lotlike.
You get a lot from just that.
(36:51):
And it's funny because likeI've been told that I mean
you're meeting me in thiscapacity.
But like when I was younger andlike in my early office days I
used to get I had like a rep ofbeing like an office B-I-T-C-H.
Basically it's comical to me nowwhen I think about it, but I
did, I did the whole likestiletto, pencil skirt, like
(37:12):
whatever look, and that was likethat was the vibe that I was
giving off and it was funny thefirst time somebody said that to
me like yeah, I was scared tolike talk with you when I first
started and I was like, really,I'm like because I'm such a you
know, I'm so ridiculous.
This doesn't make any sense,but I love that, lucia, I really
(37:33):
I can't say enough.
That's why I said like I'mgoing to gush the whole call and
like because I really Ilisteners, I really want you to
take a look.
Now, latia, let me ask you aquestion, because I'm not at all
familiar with how this works orhow art works in general.
The closest I get to art islike my children's gallery that
I have over here with for mykids and like it includes yeah,
(37:54):
oh my gosh, you know what.
I should have showed it to you.
They have a little, so they'realways giving me pictures.
My daughter, all my kids, dofreehand drawings, like they all
.
They're pretty good at it.
One of my daughters has a verydistinct.
You can see the talent and shejust does it and it's very, very
surprising.
So I bought them all framesthat are like replaceable.
You can open it up and put newart every day if you want.
Speaker 2 (38:15):
So that's what they do.
Speaker 1 (38:16):
So I have like a gallery sitting over like one of
the tables in my office wherethey come in and they give me
new pieces and it goes into theframe and, yeah, it's my
favorite thing.
That's amazing.
Yeah, I try, I'm trying toencourage, because I loved being
creative when I was younger andit got kind of stamped out of
me.
So I want to encourage theseguys.
So for real, for you know,actual adult art here.
(38:37):
How would it work if somebodywas interested in purchasing a
painting?
I know, obviously, like, yourpieces are on display where you
are, so we're not, you're notstateside, you're in the UK.
If somebody was interested inpurchasing from your gallery,
like, how would that workexactly?
Speaker 2 (38:51):
well, um, I've got a shop on my website so they can
just come to me directly um, um,or just drop me an Instagram
message or whatever, and I can.
Speaker 1 (38:59):
I can do that all direct, so that's how you find
me so, listeners, I'm gonna linkeverything in the description
here, um, and I'll also linklucia's instagram as well, so
you can like be in contact ifyou want.
Let me just make a note tomyself.
Thank you so much for coming onthe show today.
(39:19):
I I was so excited to re-engagewith you.
I know we had to reschedule acouple of times because I had
the flu, so I appreciate youhanging with me.
Yeah, I mean, honestly, Ireally love what you're doing.
Please stay in touch and I wouldlove to know when you
especially if you have anythingexhibiting stateside like I'd be
very interested exhibitingstateside like I'd be very
(39:43):
interested.
Speaker 2 (39:43):
Well, fingers crossed , and if anyone out there wants
my artwork in their gallery, letme know.
But yeah, I'm always open tonew exhibiting opportunities and
I love showing in the States.
I think I got a few collectorsover there who bought a few
pieces over the years and Ithink the work kind of I don't
know why you see how itresonates with different like
nationalities and things, but Ithink the energy in the work a
of I don't know why you see howit resonates with different like
nationalities and things, but Ithink the energy and the work a
(40:05):
lot of Americans reallyresonate with it and the kind of
feel of it.
I think it's just somethingbeautiful and exuberant and it's
just, yeah, I just think it.
I think you guys just love thatand you're all wonderful
Americans.
I've met very exuberant andenergetic people, so I think you
guys really like thank you forlike resonating with my work.
Speaker 1 (40:22):
Basically, oh, I'm I'm so, I'm so excited for all
this.
I really am um listeners, checkthe links out, check out the
virtual gallery.
Lucia, thank you again so muchfor coming on the podcast.
I I greatly appreciate it.
I appreciate you creating aspace for women the way that you
have.
Speaker 2 (40:38):
It's a beautiful thing well, thanks, jenny, and
um, yeah, it's just lovely tohear that it's.
For me it feels like, it's likesomething I can give you know,
and it's a, it's an allowance offeeling and I think like this
doesn't short supply sometimes,you know, to be able to just
feel your feelings.
So I think, hopefully,hopefully, my paintings can do
(40:59):
that for the women out there, orpeople in general, to, to be
honest, men and womenimpersonating with the work.
Speaker 1 (41:07):
Yeah, thank you so much, Lucia, and listeners,
thank you for hanging out withus today.
We will catch you on the nextone, Take care.
Hello everyone, this is Steel Roses podcast.
This podcast was created forwomen, by women, to elevate
women's voices.
I am very excited today tointroduce you to our guest.
We have Lucia Jones with us.
She is a painter based in Wales.
Since graduating from FalmouthUniversity, she has exhibited
(00:20):
internationally in solo andgroup exhibitions, most recently
completing an artist residencyin Virginia and exhibiting in
New York.
Jones has also been long listedfor a number of art prizes,
such as John Moores 2020, 2018and 24, as well as Jackson Art
Prize 2022 and 2023.
Her work is held in privatecollections in Australia,
(00:44):
austria, hong Kong, mexico, theUK and the USA, and she was
recently acquired by a publiccollection, which information on
that is soon to be released.
Welcome to the podcast.
Thanks for having me.
Speaker 2 (00:58):
Jenny, it's lovely to be here.
Speaker 1 (01:01):
And you know what?
I didn't ask you actuallybefore Lucia or Lucia.
Speaker 2 (01:06):
Lucia, but Lucia, you actually before Lucia or Lucia.
Speaker 1 (01:08):
Oh, Lucia, Lucia.
So Lucia, I want I I have a lotof gushing that I want to do
about your art, but I'm going tohold that back.
I'd really like you tointroduce yourself to the
listeners and let them knowabout your journey, how you got
to where you are with being anartist, how you knew that you
wanted to lean in there, andthen also we'll talk a little.
Speaker 2 (01:29):
Know about your journey, how you got to where
you are with being an artist,how you knew that you wanted to
lean in there, and then alsowe'll talk a little bit about
your process and some of theindividual pieces.
Okay, great.
Well, I think from a young ageI was always creative and when I
was thinking about coming onthis podcast, I was thinking
about this sort of journey I'vebeen on and it has actually been
led by the women in my lifethat I've ended up in the career
that I am.
(01:49):
I was very fortunate to have agrandmother who took me to
museums and a mother who sort ofbuilt that interest in art and
creativity and allowed it toflourish.
It's quite a dicey career toget into in terms of financial
stability, but they've alwaysbeen these cheerleaders in my
life.
So it's quite poetic for mereally that my work has
(02:11):
ultimately ended up being aboutwomen and about that female
experience.
So that's how I've ended upwhere I am really, and my work
itself, as I said, is about thefemale experience for me.
When I was, when I startedpainting properly I say properly
, but like at university, whenyou're really kind of trying to
establish what your inner voiceis trying to say and what work
(02:33):
you want to put out into theworld I almost shied away from
the self because you don'treally want to talk about
yourself in your artwork.
A lot of artists are quite thesame or quite introverted, and
it was only through goingthrough that process of
university and over like thelast 10 years I realized that
that is where my work lies andit's about my engagement with
the world and what I was sort oflatching on to finding
(02:57):
interesting was exploring thesesort of female experiences and
they're kind of unique in a wayand how we engage with the world
collectively.
There's how people are readingthe work, and it was leaning
towards women for a long time.
So, um, yeah, I've kind oflanded in this space now where
it's a more informed, uhcommentary on those experiences
(03:19):
and sort of allowing this innerworld out there that other women
can engage with, because Ithink we've all sort of treaded
these liminal spaces that are inmy paintings from time to time,
you know.
Speaker 1 (03:30):
I love how you got to where you are.
That's part of the storybecause you had the support of
people saying, like you know,you should go for this.
And it's interesting because alot on a lot of other episodes,
the creatives that have come onhave flat out said, like nobody
was supporting this, everyonepushed me in the opposite
(03:52):
direction and, honestly, like alot of the creatives that come
on, didn't return to their artuntil they were much older
because they were pushed intocorporate, you know, or pushed
into, you know, a traditionalquote, unquote career.
So I do want to commend you onreally focusing in here and
(04:14):
establishing yourself as anartist, because that in itself
is very hard and I will admit,like hands down, because I
dropped my whole creative likereally long time because, again,
I was pushed into the whole.
You know you have to make money.
You gotta, you gotta go for it,you gotta go for the money.
You can't be like foolingaround.
I'm, like you know, it's alittle bit sad because there's
(04:34):
probably a lot of people thatare very, very talented that
drew back and were like, well, Ican't do this, it's not gonna,
it's not gonna bring in the bigbucks.
So, like you know I love thatyou have gone as far as you've
gone and I love that your workis now being recognized and I
had explained this morning andlisteners.
So when Lucia and I connectedfor our intro call, I looked
(04:56):
through her pieces and I waslike, oh, I like a couple of
these I had.
You know, I walked away fromsome of them feeling like, oh,
this one looks a little bit sad.
Walked away from some of themfeeling like, oh, this one looks
a little bit sad.
This one feels like a littlebit more, like it's fun and
inspiring.
And today, before we recorded,I opened the pieces back up.
There's a virtual gallery, soI'm going to link everything in
the description of the podcast.
You can all check it out, butshe has a virtual gallery and
(05:18):
when I looked again this morningI walked away with like a
different feelingcia is that?
Is that quite common like?
Is that a common thing forfolks?
Like when they're viewing theart, like they walk, they see
different things in it everytime they see it yeah, it's,
it's.
Speaker 2 (05:34):
It's funny really, because some of these paintings,
like in my recent show, they'vethey've been a few different
places and it quite oftenhappens with artwork that some
paintings they stick with you alittle longer and they go in
various shows or they're inshort lists and whatever.
So they get displayed invarious audiences and you get
all these different reads on thework and, like we were
discussing earlier, sometimes Iget a different read after being
(05:56):
away from a painting for a fewyears, like and I say away as in
, like when you're working on it.
I tend to work in series.
There's usually like six orseven on the go and they're all
chatting with each other.
I treat them like people almost.
They're all, all inconversation, they're, all you
know, bouncing off each other.
But when they're put inisolation, so I say, like in a
show, on a wall and they've gotspace around them, and then
(06:18):
people come up to them and theysay, oh, I see this in this or
you know, I've been, I feel,drawn to this painting, you
think, okay, so you're seeingthat, whereas I was coming from
maybe a different headspace orsomething.
I kind of love that about mywork, in that people read these.
They put their own memories andtheir own experiences onto the
paintings and onto the women inthe paintings, because they are
(06:42):
in themselves ciphers for memory, but they're not, you know.
So I say they're directlycorrelated to my own memory,
which they are, my own personalhistory, but by using found
imagery for these women andthey're kind of like there's
this disconnect, but then youcan like hang yourself upon them
if that makes sense.
So I paint from films a lot andum, there's quite a lot of like
(07:05):
Liz Taylor's floating around mywork which have been obscured a
little bit, you know, and thatsort of means onwards sort of
era cinema.
But by taking them from theiroriginal context and painting
them and sort of throwing theminto these fractured
environments, they become thesehangers almost for putting your
own self onto them.
So yeah, it's part of the workin a way for me and it's
(07:26):
exciting just seeing them changefrom space to space, you know.
Speaker 1 (07:30):
It is very, it is interesting.
I actually like the one, so letme pick one out, the one that I
had just talked with you about.
So the name of the paintingitself is I Can't Fit Into this
Dress Anymore.
Which listeners, you allmight've gotten a chuckle just
there.
But because it is, it's, it'salmost like you.
And then you try to picturelike, well, what could Jenny
possibly be talking about?
Like what, what is thispainting painting appear up.
(07:52):
It's a very moving piece because, you know, it's a little bit of
a darker framework.
The colors are on the darkerside and it's a woman who's you
know, looking into a mirror ofher.
You know vanity and you couldsee that she's has an outfit on,
but it's not quite zipped upall the way.
The title is an obvious title,but looking at the piece itself,
it it draws all these differentemotions.
(08:16):
Now, the first time that I sawit I I guess it was very topical
for me and I looked at it I waslike, yeah, she can't fit into
her dress.
Oh, it's sad, the colors are onthe darker side.
But today when I looked at itand maybe it's also because of
the time space in between, Idon't know, maybe it's because
I'm in a different headspacetoday.
Maybe if I look at it again ina month it's going to feel
different, but today when Ilooked at it it didn't feel sad.
(08:47):
It felt and I don't want to sayinspiring, but it felt almost
calming to look at it, becauseshe doesn't seem upset to me in
the painting anymore.
Now it seems to me that she'salmost like just like, yes, this
is me and that's how I felttoday when I looked at it.
So I was curious about thatpiece and your development there
, your color selection almosttoo, because the green gives me
a different vibe than you know,like a red would have given me a
(09:08):
totally different look.
So I'm curious about that pieceum, yeah, I love this one.
Speaker 2 (09:13):
Um, so it's inspiration.
My source, imagery wise, wasfrom the film Blade Runner and
also this photo of Sophia Loren.
I'd seen um on Instagram justscrolling.
You know I tend to grab a lotof things from my sort of
peripheral visual where you knowyou just actually do on
Instagram.
Anyway, blade Runner is a filmI've revisited several times in
(09:36):
my practice.
I just love it visually andRidley Scott's just amazing, and
every scene in the film in theoriginal it's like a painting.
So visually it's just like I'mlike a magpie, I'm like, yes, I
love this and I love that sci-fias well.
But the the context of the filmand it talks a lot about memory
and what memory is and howmemories make us humans.
(09:56):
Essentially, one of themessages within that for the,
the main female protagonistanyway, she's an android but she
thinks she's human because ofthese memories have been put in
her mind.
So that's kind of like in thebackground, sort of artsy, kind
of like where, why I selected it?
But this scene it's anabandoned room and I just
thought I quite like thisfeeling of emptiness.
(10:19):
And there was this light justin the corner and I thought,
well, I quite like the idea ofthere being this sort of
symbolism, with this light beingon.
It's like hope, it's like anidea.
It's it which is where thiskind of change, I think, and I
find looking at the paintingcomes from, because you can read
(10:39):
so many things into the thingsthat are included and you know,
like a mirror, you're looking atyourself.
Are you judging yourself, areyou getting yourself into the
position doing your makeup,where you're ready for the world
, putting your mask on, you know?
So, yeah, that's kind of whereit is in terms of headspace.
But I quite like this, like yousaid, this sort of thing of
she's content in a way, becauseinitially, when I was painting
(11:02):
it, a lot of the work is aboutmy own personal history and
you've all been there, kind ofyou put on something that you've
had about six years ago.
You can't get into it anymore.
But I'd come to a point in mylife when I painted this where
it was almost like I realized afew things and consolidated a
few things about myself and howI feel about my own body, about
where I am in terms of, like, mycareer choices and things, and
(11:24):
it's, you know, releasing thatinto the painting, you know, and
it's I can't fit into thisdress anymore.
Okay, where do we go now?
Kind of thing.
And it's a quite lonely placeto be.
But it's also quite aliberating place to be.
And you know, the choice ofgreen green was in the original
image but, um, I work from.
But it's also quite aninteresting color.
(11:45):
It can be quite isolating andquite calming at the same time.
It's like a forest.
You think of this visceralreaction to the color green.
It can be so many things andit's not like in a set space, if
that makes sense, whereas redis very solid and it's very much
one note.
Speaker 1 (12:06):
You know You're right , green is very fluid.
You know it's funny.
At work, in my daytime job,I've actually said to people
like please don't, if you usered font in like an email to me,
I'm going to assume thatthere's an emergency.
I'm like I didn't, please like.
And then if you and I and I'vesaid that I'm like red
highlights to me mean like thisis bad and I'm like can you
(12:26):
please just put green, blue,like use any other color.
Yeah, red is very like alarmingand for obvious reasons, like
it's not very, it's not like adeep, deep rooted thing.
It's obvious.
You know, as you were talkingto and I I maybe maybe that's
why it feels different to me toonow, because, as you were
talking, I can't fit into thisdress anymore is to me now I'm
(12:50):
thinking like it through, likemore topical, because it's also
could be like the dress issymbolic for your life.
I'm not fitting into thisanymore and you're kind of just
like looking into the mirror toreally really see yourself to
say like this isn't for meanymore.
I'm ready to go.
Speaker 2 (13:10):
Yeah.
Speaker 1 (13:11):
Yeah, I very, very much like this piece this
morning, kind of I think I saidit to you earlier like knock the
wind out of me and I'm like, ohmy God, what happened?
Speaker 2 (13:22):
Yeah, it was a wicked way.
I love painting it and it waskind of a challenge for me as
well, which I quite like.
So it was like bursting forthinto this new frontier of what I
was doing.
In terms of the materialqualities of the painting, the
lace curtain on the side I'vebeen sort of gravitating towards
curtains for a while and I justlove, again, the symbolism of
(13:43):
them.
They can be used to like reveal, conceal what's behind it,
what's going on.
You know, in more recent workwhere I'm looking at like
performative femininity, it'slike the staging and this kind
of like ta-da.
I did one painting which wasjust like, um, it's a bit of a
joke really, but it's thesecurtains, and then there's this
black void in the middle, um,and I think they called it yeah,
(14:04):
here we go again.
It was kind of just like ta-da,like I got nothing for you, or
like ta-da.
This is what it is, you know.
Anyway, back to this one, thecurtain.
I use a vinyl cutter to createlike shapes within my work and
get this sort of really crisp,clean kind of edge to a lot of
the areas of the painting.
So I thought, as I usually do,I try and I try and go for all
(14:29):
or nothing I'm going to do.
A lace curtain drove meabsolutely crazy, but in the end
it worked.
So it was kind of like oh, Ican actually fit into this new
space of painting, which Ididn't think I could achieve,
you know.
So, yeah, meanings of thepaintings they just change and
change and they just keepgrowing for me.
Speaker 1 (14:46):
So it's quite nice to look back on it you know you
referenced your other piece, soI do want to talk about this one
too, because I didn't mentionit earlier.
But for here we go again.
So for listeners, I want you totake a look at the, the virtual
gallery, so you can seeeverything that we're talking
about.
Here we go again.
So it literally is like acurtain stage, like parting,
like that, like it's the openingshow, and I saw it and, yes,
(15:09):
like the middle of the blackvoid.
But I don't know why I caughtthis feeling of like this is how
I feel every single day, likeyou're about to put on this big
show, and not so much like, okay, here we go again.
Like, oh my God, all right,here we got to go all over again
.
It's almost more like in those.
So in the mornings I get up andI'll meditate, or do I just
(15:32):
quiet, read, like I do things inthe morning.
That's just like Jenny.
Jenny by herself is Jenny.
The here we go again.
Painting made me think about how, okay, I usually will have to
set an alarm for myself to say,all right, jenny, like this is
your Jenny space.
But as soon as that alarm goesoff, you have to go and be mom
(15:53):
and be a professional and be awife and, you know, do all the
things.
And the black void in themiddle of this painting to me
was more of a hey, jenny, nowyou're going to put all your
other hats on and you're goingto go and do your thing and then
there's going to be a curtaincall at the end of the day where
you can just be Jenny for alittle while again.
And it sounds a little strangethe way I'm saying it, almost
(16:13):
like I don't know how to, Idon't know.
I think all the moms that arelistening right now are all the
women listening are probablylike yes, we get you, because
there is a part of us that'slike we have to wear so many
hats during the day.
And I've often said you know,angrily, by the way, I've often
grumbled this really angrilythere's not a minute of my day
that's not accounted for there.
(16:34):
Every minute of my day iseither it's going to be to my
professional life, to, you know,my family, to my husband, like
to cooking, to the clean, youknow, whatever well, actually
not the cleaning, I'm not doingthat anymore.
But you know there, you knowit's accountable.
I'm accountable for everyminute of the day to somebody
(16:54):
else and so to have a momentbehind the curtain, that's just
Jenny back there.
It's a very powerful thing.
So I saw that and it's funnythat you like you made that
through line just now.
But I'm like I I saw them likewow, I'm like, if you really
think about it, like this isn'tjust, it's not just curtains
Like this, is you like openingup your?
You know, I'm ready to go, likehere we go.
Um, yeah, I thought that wasvery interesting.
(17:15):
There was another piece herethat I wanted to explore a
little bit with you.
No, say honey, go tell Poppyplease.
The other piece give me onesecond.
The other piece, um, is, giveher a minute, she'll be back.
This one I like brought to youright away when we, when we
hopped on, I was like I need toshow you these pieces that like
popped out at me today.
(17:36):
So, yeah, in this image, um,you can, you can see it when you
, when you're looking at it,that you're basically inside and
you're looking out windows andto me, I saw this and
immediately thought of my homeoffice, and there are quite
often times during the day where, if I'm like really overloaded
(17:57):
or really busy with things, likeI will take five minutes and be
like, all right, when's my nextcall, when's my next thing, and
I'll go and sit outside in thesun like, all right, when's my
next call, when's my next, youknow thing, and I'll go and sit
outside in the sun.
I actually like I will takelittle like little vitamin D
breaks, basically, and be like Ineed to just get away from my
space for a minute and just takea deep breath and like kind of
reorient myself because I meanI'm like a constant, like I'm on
(18:21):
and I'm very busy right now.
So I'm like constant.
And so, looking at this piece,the colors themselves, the
colors inside the space are verybright and almost like we're
bright, we're popping, we'rehere, we're busy, we're doing
things.
And then you can see in thebackground again the calming
greens, and you get the imagealmost because you can't quite
(18:46):
see her.
But there is someone back there, hidden partially by the
greenery, and to me this isalmost like a calming moment to
see that, because immediately Iwas like that's like what I do
To take a step outside of yourspace, where everything's loud
(19:07):
and again where you'reaccountable for everything, and
go and take a step away intosomething that's peaceful, to
just take a minute, and thenyou're going to come back and
you're going to do your thing.
That I like.
I, yeah, went through so muchlooking at that painting, but
when you read it like exactlyhow is it intended really?
Speaker 2 (19:24):
it's just give her a minute, she'll be back.
It's kind of like my paintingsare almost not like.
They're sort of like things youwouldn't say out loud sometimes
and it's like just give me aminute, I need some headspace,
I'll be back.
Like just two seconds almost.
So she is just sort ofwandering this sort of heat and
like just getting a minute awayfrom herself.
But what's quite interestingwith this one as well is quite a
(19:45):
lot of people.
They do miss this little Easteregg.
There's a woman right in thevery bottom left corner there's
a little glove and she's quiteabstracted.
Oh my gosh, I didn't notice that.
Yeah, she's kind of my littleEaster egg in there.
It kind of, for me, brings thework back to this almost
awareness of self, and you'relooking through a window at
(20:07):
yourself.
So she's off on her own, butyou're very aware of what you're
doing.
I think, as women, we're veryaware of what we're doing with
all the times, like you said,this, like every minute's
accounted for, you know, and howwe're perceived.
So it opens up the conversationdown that angle as well.
Speaker 1 (20:22):
But it's very much a painting of just give me a
moment, I just need to be youknow, I wonder if I would have
gotten there eventually, becausenow, as soon as you said that
I'm like well, now I'm lookingat this totally differently.
This is like her psyche took abreak and she's still in there
doing the thing, but like shementally like oh my god, now
you've got me I love doing thatto people.
Speaker 2 (20:42):
When they watch this painting, I go oh, and this one,
and this one.
Speaker 1 (20:44):
They go oh, can you see, I was like, yes, now I'm
looking at this totallydifferently.
She is concealed, but she isalways there.
Wow, oh my gosh Now.
Well, now it's like a wholeother meaning to me, because
that's the other part of it too.
The other element is, yes, likeI could be here present doing
(21:08):
all the things, but my mind isconstantly like, okay, on these
other hundred things that, likeyou know, or even like taking
that mental break, oh my gosh,now I'm going to have to take
another minute.
Oh my gosh, yeah, give me aminute.
Man, you know, yeah, I, whatyou've done here with creating
these pieces and listeners.
(21:28):
I really encourage you to takea look through them and almost
like bookmark it and then goback, because it you get a
different look every single time, or you get a different feeling
, or it tells a different storyevery time you look at it, and
it's such a honestly, what atremendous gift you have.
I don't think that's, yeah, atremendous gift you have.
I don't think that's yeah, Ihonestly like I don't.
(21:48):
It's not common and you shouldbe proud of yourself for this,
because this is something thatone, many of us, many people who
are creatives, will step back.
Obviously, like I said thatearlier, for traditional careers
, and then there's a lot offolks that wish they could tell
this story, the way that you didand be able to pull these, all
(22:09):
these little elements.
Now I'm staring at the hand ofthe glove and I'm like having a
hard time because I'm like, mygoodness, there's all these
other things that you could pullthrough into this painting and
all these other feelings.
That's such an amazing thing.
Speaker 2 (22:21):
Well, thank you, I just yeah.
I hope that the book as well.
Well, thank you.
I just yeah.
I hope that the work as well.
It allows people to get intheir feelings a bit and it
allows a safe space for women to, you know, feel what they want
(22:42):
to feel what they're feelingdeep down, you know.
So it's from me, but it existsin its own space that people can
connect with then.
So it's, yeah, I hope that thework um does allow people to do
that, and that's something Isort of came to a realization
with at university.
It's very much when you go tocar school, you're like I want
to be the next Lucian Freud Iwant to show in the tape, blah,
(23:04):
blah, blah.
You know, I want to.
You know all these like amazing, like dreams, and you should
have that mentality.
When you go in, you should belike, yeah, I want to be epic, I
want to do this, be the bestartist I can be, and I did that
for a while and you end up likeimitating a lot of artists and
you learn that way.
So it's part of the process,you know.
But, um, you suddenly reachthis.
I think it was one of my tutors, mark Seragis, an amazing
(23:27):
painter.
Everyone should go check himout.
He's fantastic.
And what kind of artist do youwant to be?
It's the second year when youknow things get serious and
you've got to start thinkingabout your dissertation and all
this kind of stuff and I said,well, I want to make work that
people can connect with.
And I think that's when you getto that point, that's when the
work suddenly starts to click, Ithink and it's taken me 10
(23:47):
years even from that point tosort of really fully embrace
that and it doesn't reallymatter how successful you are in
terms of finances and stuff.
All of us are great and amazingand sort of accolades and
things.
As long as you're making workthat people can connect with,
it's got validity, I think.
And it's got validity, I think,and it's got purpose.
And I think, like a lot ofartists, there's some artists
(24:09):
this one has recently passedJack Vectriano.
He's an amazing painter andhe's self-taught and he's um,
he's beautiful, almost 1950s,40s scenes of women and couples,
all sorts of very romantic, youknow, absolutely sort of shut
down by.
You know the typical sort ofthe art world.
You know the sort of that stampof validation, but his work
(24:30):
speaks to the general public andyou know if you can hit that
kind of if anyone's wants to belike an artist or anything, hit
that sort of crossroads of youknow, the general public and
responding that's what you want,really, because art's meant to
be for, you know, everyone thissort of space of inclusivity and
expression and it's it's meantfor everyone, you know.
Speaker 1 (24:50):
So yeah, I you touched on something there,
though, that I think that I wantto, I want to highlight and it
was really there's, there's parthere where you do want it to be
for general public consumption.
Obviously you want to hit anerve, but you also want to be,
like, true to yourself.
Like what?
What is, what is the messagethat you need?
What's the story you need totell?
What's the message you need totell?
And for you, as an artist, thatwill probably shift throughout
(25:14):
your life.
You know, like I mean, I'mcertain, like your pieces must
be so like different, totallydifferent from, like you know,
year to year, decade, year,decade, decade, even like month
to month, because, like I mean,my reaction changed from the
first time that we chatted to.
Now, I mean, my reactionchanged to it, so I can only
(25:36):
imagine how long does it takeyou to like from start to finish
, and is it really start tofinish?
Like, is that the journey?
Or do you ever have a piecewhere you're like I don't feel
like this is done, but it isdone, kind of like?
Speaker 2 (25:47):
yeah, it's overall like your art practice.
It's very non-linear, um,there's a lot of like loops and
circles and you end up on it'slike a roller coaster slash,
sort of cross-country wanderingdown lanes kind of feeling to it
.
So you end up circling back onyourself quite a lot and it's
recognizing those patterns andthings that you keep circling
back on yourself quite a lot andit's recognizing those patterns
and things that you keepcircling back to.
(26:09):
I think that's that's what yourkey message is, I think, and
it's something that will keeprefining and coming through in
your work.
And I think, as you create morelike the key to refining your
practice is just making it.
Unfortunately, that's the way.
There's no, there's no quicksort of jump across or anything
like that.
It's you just got to keepmaking work and some of it's
(26:30):
going to be a bit rubbish, someof it's going to be okay.
You know, a lot of mine end upin like this sort of corner of
shame in my studio.
They're just like no, Iabsolutely like I turn them
around, I'm like, I'm like, lady, you gotta go, like I'll do it.
But they sometimes getresurrected and brought back
into the fold, you know.
But yeah, that's how.
So I find the key message andit's a process of filtration as
(26:52):
well, and the more you paint,the more you learn, the more you
get better, or what you'redoing it comes down and boils
down to these key kind ofthreads, you know, and that's
how I see it anyway.
But for me, yeah, there's a lotof.
I tend to have an idea of somesort of thing I want to explore
or understand a lot of minorquestions.
(27:13):
So, say, I've got, like my soloshow that came up recently in
Oxford Spectacle, where a lot ofthese works are from, um, a lot
of it there's a question ofsort of why am I interested in
these sort of performativecharacters, you know, and what,
what am I trying to get at?
And what I was trying to get at, it turns out, was sort of this
idea of being seen and how werespond to that idea of being
(27:37):
seen as women, and theperformance sort of side of it
was feeding into this idea ofperformative femininity and how,
like with a lot of women Ipaint, they have these sort of
masks, slash no eyes thing goingon.
I did.
I noticed, yeah, um, andsomething like, oh god, so
brutal.
And I'm like, well, yeah, it isa bit.
But you know, sometimes youreyes are terrible to paint.
(27:59):
Anyway, that's another sidestory, but a lot of it's about,
like it was this idea of beingseen and being conscious of your
actions and kind of playing onthat sort of adage of the eyes
are the windows to the soul andthis kind of thing.
So you know, you kind of as youmake you understand and then
you kind of get to the point ofwhat you're trying to question.
That was a very roundaboutanswer, but yeah, it's kind of
(28:21):
questions and answers.
It's my process, like why am Idoing this?
Speaker 1 (28:25):
You know questions and answers.
It's my, my process like, whyam I doing this?
You know, I tell you, I know Idid notice, like the theme
throughout, where you do havelike the, the wrap basically
over the eyes, or the, the gapin the eyes, and um, and it
almost well, listeners, just youhave to go look to see it but
it looks a little a bit like aface mask, like across the the
top of the face.
But I didn't see that, as youknow, like a missing piece.
I didn't see it as as somethingnegative.
(28:48):
I actually saw it more as a.
This could be any of us.
This is all of us all of us fitinto this.
That's why there's this missingpiece here, because we are all
this person and we can all fitinto this scene.
Everybody could fit into one oflike.
That's actually how I looked atit when I saw that.
Was that the intention?
Speaker 2 (29:06):
yeah, I started.
Yeah, it's because I startedworking with like cinematic
imagery and obviously, like youhave, like famous actresses, and
part of it was like creatinganonymity in the figure because
I didn't want them to have thecontext associated with, either
like the film directly or, youknow, the actress themselves.
So that was where it came from.
But it has become, like yousaid, this thing of it can be
(29:28):
anybody and as well the mouth isquite emotive and I think it
can often be more emotive thanincluding a whole face and it
leaves this sort of room forinterpretation.
And the way I sort of like cutthe space out as well, it's like
the space around the figure islike the headspace almost.
It's like a continuationbecause of the way I paint and
the layers I put down's.
Like the space around thefigure is like the headspace
almost.
It's like a continuationbecause of the way I paint and
(29:49):
the layers I put down, like thelayers are painted in isolation
as well.
So there'll be like almostshards of different like ways of
painting on the surface.
So, yeah, it all kind of again,it all feeds into itself and
then you start to realize theselittle niggers come through, you
know, and they become yourpractice.
Speaker 1 (30:07):
You know, I honestly like I find them very moving.
I love that you focused on onwomen and our stories and really
like the, the idea andeverything that we go through.
Because if you look through thepieces and listeners again,
like I really encourage you tolook and then take another look
in like a month, because thepieces themselves, like it's
(30:29):
funny because the what?
When I first looked at yourcollection, not all of them
caught my eye and today when Ilooked again, I was like oh,
there's like a whole bunch inhere that I really resonate with
.
Like what, what happened overthe?
What did I do to myself overthe past like month or so, or
two, two months that we werelike that all of a sudden, like
all these pieces are jumping offthe page.
So it's, you are definitely, Ithink, hitting a tone here and I
(30:55):
think you really are.
If you haven't, I know that youhave big news that you're going
to release in the coming monthsand weeks.
But I mean, I really highlyencourage everyone listening to
take a look through thecollection and honestly just see
it, because this kind of artfrom Lucia is so important and I
(31:16):
think that it really highlightswomen and what we go through
and you can pull something fromeach.
I mean I'm looking at do youwant to form an alliance with me
?
And it's like I'm like, oh myGod, I'm like these pieces are
just like they really do speakto you, they really do.
And I actually really love thetitle of your exhibited works
here Spectacle because it allties through there and it's
(31:44):
almost like, oh well, don't makea spectacle of yourself.
But at the same time, womenthemselves are something to me
admire.
Obviously I'm going to say that, but there's an admiration
there of like women in general,and I'm not talking about like
women up on the silver screen,women in like high and mighty
places.
I'm like the everyday woman isis a sight to be seen because of
the amount of things that we do, because of the amount of
(32:06):
things we carry on our shoulders.
This is quite.
This is something you know.
And and calling your, your,your, your exhibit a spectacle,
I thought that was like reallycool too.
I wanted to tell you that.
Speaker 2 (32:16):
Well, thank you, yeah , it's.
It's interesting that you saidthat as well because, like,
throughout as you're making thework, and again it's this
process of going through italmost as you're making it,
seeing what you're getting at,and the painting that you
mentioned, um, do you want toform an alliance with me?
Absolutely, I do.
With the last one I painted,and it was like this
re-ownership of the spectacle,and it was like, yeah, we're
(32:37):
taking ownership of this.
Yeah, you caught saint up yourspectacle.
How about I am a spectacle.
What are you gonna do about it?
You know of the spectacle.
And it was like, yeah, we'retaking ownership of this.
Yeah, you caught the saint up,be a spectacle.
How about I am a spectacle.
What are you gonna do about it?
You know, yes, yes.
So yeah, it's, it's a, it's acracking one.
That one I really um, well, Itook the title from, like, as I
usually do, somewhere random, soit's from the office, and it
was with dwight and um and umthat's funny yeah, basically, um
(33:02):
, I can't remember thecharacter's name, that's kind of
Jim, and he's saying do youwant to form an alliance with me
?
yes, um, I think I got thatright.
I just thought that's hilarious.
I often write down my titlesand come back to them, you know,
but, um, in the painting it wasthe women were from a film
called Wasp Woman, which is likethis bananas kind of B-movie
(33:23):
from the seas, and this is aside story.
It's quite fun, but you shouldwatch it and it's um, this woman
owns a beauty company and she'sbeing told by all the men and,
of course, if she's getting tooold, so she can't, you know, be
in charge of the company thatshe's put together she ends up
using, like wasp fest extract tobecome beautiful again, which
is obviously done by like takingher glasses off, because you
know that's how it works incinema and she ends up like
(33:46):
basically turning into this waspwoman and it's like a rb movie
in it.
But, um, the women were thesereceptionists.
Now, moonlight is areceptionist for like, all my
art career and I continue to doso.
She got to pay the bills, likeyou said.
Yeah, you gotta keep the lightson you know, you can learn many
from art, but it's neverconstant, you know, and I just
love these women because theywere just extras, but they were
just so fabulous and they werealways like you know, it's just
(34:09):
this look of, and they justcommanded the scenes.
I was like, right, you're goingin the painting, you've got to,
I've got to, I'm gonna make aspectacle of you, you've got to
go in there.
And then I was listening all ofa sudden, my works are quite
chaotic sometimes I waslistening all of a sudden, my
works are quite chaoticsometimes.
I was listening to a lot ofWestern music at the time, like
old West kind of like countrymusic.
It's like desert in thebackground.
I was like, right, ok, I seewhere this is going.
(34:30):
Now it's becoming like aMexican standoff painting to
like finish off the show, youknow.
And then I included this littlepainting in the background which
is like, really just aboutthere, it's Manet's Olympia,
which is in itself.
If you're not familiar, gocheck it out.
It's a wicked painting and itwas painted by Manet, rejected
(34:52):
by, like, the salon you knowthat it was going into and
whatever.
Everyone was like, oh my God,this is like scandalous.
So I was like perfect, you'regoing in my painting and it was
of a woman.
It was a very interestingpainting in that it kind of
ducks the convention of the timein that women were often
painted in the male gaze, whichis obviously looking fabulous,
(35:14):
draped over things and justlooking beautiful and wonderful.
And it's a transcription initself, which is what kind of
what I do in terms oftranscribing images and all this
.
So there's loads of layers toit, um, but it's actually a
painting of a woman who everyonethinks is actually a prostitute
, but she's being put in thisposition of spotlight and, like
you can see why the salonrejected it.
(35:35):
But I thought, you know she's areal woman.
Yeah, you can just go pop in mypainting.
It kind of just all reinforces,kind of like I am the spectacle
.
Yes, I am here, you know, comelook at me I'm here and I'm not
leaving.
Speaker 1 (35:52):
Yeah, I'm real, I'm not going anywhere.
Speaker 2 (35:54):
You can come take a look if you want yeah, I'm
making my own money.
I am who I am, you know, and itlike, do you want to join me?
Basically to other women, whichis, you know, it's the female
empowerment kind of feeling.
So yeah, I'm glad you mentionedthat one.
She's my latest and one of myfavorites, you know.
Speaker 1 (36:11):
I do very much feel like the empowerment vibe coming
out just and even like thelooks on their faces is very
like.
You can sense the almost likethe severity in their faces and
their looks, that they meanbusiness and there is like you
can see the softer side, likeyou can see it a little bit, but
(36:31):
you can.
Especially in the blonde womanyou can see it's very
interesting the way you did herface because you can see the
softer side.
But you also see with that onevery arched eyebrow like I will
take you out if I need to.
So don't like, don't come tolike.
It's very yeah, you get a lotlike.
You get a lot from just that.
(36:51):
And it's funny because likeI've been told that I mean
you're meeting me in thiscapacity.
But like when I was younger andlike in my early office days I
used to get I had like a rep ofbeing like an office B-I-T-C-H.
Basically it's comical to me nowwhen I think about it, but I
did, I did the whole likestiletto, pencil skirt, like
(37:12):
whatever look, and that was likethat was the vibe that I was
giving off and it was funny thefirst time somebody said that to
me like yeah, I was scared tolike talk with you when I first
started and I was like, really,I'm like because I'm such a you
know, I'm so ridiculous.
This doesn't make any sense,but I love that, lucia, I really
(37:33):
I can't say enough.
That's why I said like I'mgoing to gush the whole call and
like because I really Ilisteners, I really want you to
take a look.
Now, latia, let me ask you aquestion, because I'm not at all
familiar with how this works orhow art works in general.
The closest I get to art islike my children's gallery that
I have over here with for mykids and like it includes yeah,
(37:54):
oh my gosh, you know what.
I should have showed it to you.
They have a little, so they'realways giving me pictures.
My daughter, all my kids, dofreehand drawings, like they all
.
They're pretty good at it.
One of my daughters has a verydistinct.
You can see the talent and shejust does it and it's very, very
surprising.
So I bought them all framesthat are like replaceable.
You can open it up and put newart every day if you want.
Speaker 2 (38:15):
So that's what they do.
Speaker 1 (38:16):
So I have like a gallery sitting over like one of
the tables in my office wherethey come in and they give me
new pieces and it goes into theframe and, yeah, it's my
favorite thing.
That's amazing.
Yeah, I try, I'm trying toencourage, because I loved being
creative when I was younger andit got kind of stamped out of
me.
So I want to encourage theseguys.
So for real, for you know,actual adult art here.
(38:37):
How would it work if somebodywas interested in purchasing a
painting?
I know, obviously, like, yourpieces are on display where you
are, so we're not, you're notstateside, you're in the UK.
If somebody was interested inpurchasing from your gallery,
like, how would that workexactly?
Speaker 2 (38:51):
well, um, I've got a shop on my website so they can
just come to me directly um, um,or just drop me an Instagram
message or whatever, and I can.
Speaker 1 (38:59):
I can do that all direct, so that's how you find
me so, listeners, I'm gonna linkeverything in the description
here, um, and I'll also linklucia's instagram as well, so
you can like be in contact ifyou want.
Let me just make a note tomyself.
Thank you so much for coming onthe show today.
(39:19):
I I was so excited to re-engagewith you.
I know we had to reschedule acouple of times because I had
the flu, so I appreciate youhanging with me.
Yeah, I mean, honestly, Ireally love what you're doing.
Please stay in touch and I wouldlove to know when you
especially if you have anythingexhibiting stateside like I'd be
very interested exhibitingstateside like I'd be very
(39:43):
interested.
Speaker 2 (39:43):
Well, fingers crossed , and if anyone out there wants
my artwork in their gallery, letme know.
But yeah, I'm always open tonew exhibiting opportunities and
I love showing in the States.
I think I got a few collectorsover there who bought a few
pieces over the years and Ithink the work kind of I don't
know why you see how itresonates with different like
nationalities and things, but Ithink the energy in the work a
of I don't know why you see howit resonates with different like
nationalities and things, but Ithink the energy and the work a
(40:05):
lot of Americans reallyresonate with it and the kind of
feel of it.
I think it's just somethingbeautiful and exuberant and it's
just, yeah, I just think it.
I think you guys just love thatand you're all wonderful
Americans.
I've met very exuberant andenergetic people, so I think you
guys really like thank you forlike resonating with my work.
Speaker 1 (40:22):
Basically, oh, I'm I'm so, I'm so excited for all
this.
I really am um listeners, checkthe links out, check out the
virtual gallery.
Lucia, thank you again so muchfor coming on the podcast.
I I greatly appreciate it.
I appreciate you creating aspace for women the way that you
have.
Speaker 2 (40:38):
It's a beautiful thing well, thanks, jenny, and
um, yeah, it's just lovely tohear that it's.
For me it feels like, it's likesomething I can give you know,
and it's a, it's an allowance offeeling and I think like this
doesn't short supply sometimes,you know, to be able to just
feel your feelings.
So I think, hopefully,hopefully, my paintings can do
(40:59):
that for the women out there, orpeople in general, to, to be
honest, men and womenimpersonating with the work.
Speaker 1 (41:07):
Yeah, thank you so much, Lucia, and listeners,
thank you for hanging out withus today.
We will catch you on the nextone, Take care.
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