Lucinda Rogers is driven by an insatiable desire to document and for Lucinda it is her surroundings that feed this compulsion to draw.

To Lucinda the city becomes a landscape, it’s inhabitants providing a sense of scale and animation.By drawing on location she has a rare opportunity to observe this relationship. Sometimes somewhere new or previously overlooked can distract her from a planned drawing. If a location presents itself to her but cannot be captured immediately, no reference is taken other than the address. Consequently her sketchbooks are more reminiscent of address books, lists that look like they were scribbled down with nervous excitement. The passion with which Lucinda approaches her drawing has been motivated by the increased pace of urban development and the urgency of capturing something before it is gone. Many buildings that Lucinda has drawn now only exist in her portfolio.

Understanding that Lucinda works best on location has led clients to approach her with a variety of unique briefs giving her privileged access to areas that are not generally open to the public.

In 2005 Lucinda produced artwork for the Association of British Ports’ Annual Report, donning hard hat and fluro jacket to draw on location at two ports in Hull. Recently she was granted access to private areas of Kensingston Palace in order to provide visualisations of what an extended exhibition of Queen Victoria’s life at the Palace might entail.

Her commissions have also taken her behind the scenes at London Fashion Week, backstage at a TV recording and into the AGM of the General Medical Council. People in these locations are often intrigued by her presence, but most often her interest gives them a sense of pride.

The sensitive nature of Lucinda’s drawing is one of the reasons she was given unusual access to St Paul’s Chapel in New York in 2001, during the recovery process after September 11th. Lucinda drew at night, documenting the work of volunteers who provided food, beds, medical supplies, counselling and a place of sanctuary for those working in the wreckage of the World Trade Centre. Her presence was accepted by those that she joined in the chapel, her role understood as being very different from the media coverage continuing outside.

Clients

Association of British Ports
Historic Royal Palaces
Cambridge University
Dunhill
The London Library
The Guardian
The Victoria & Albert Museum
Brockton Capital
Artisan Biscuits
The Globe Theatre
Inveresk Paper
The New Yorker
Fila
Los Angeles Times
Habitat
Country Living
William & Sons
Case de Arbitare
Orion
World Business
The Telegraph
Brockon Capital

Links