Kilburn High Road, London
Yale Magazine, student dorm
Leatherworkers at Hyfact Ltd, Spelman Street, London
BBC Studios, London
Artwork from 'No Place Like Home' cookery book by Rowley Leigh
Eugene, mechanic, London
The Guardian Review cover, Hay Festival special
Cambridge Alumni Magazine, graphics department
Pellicci's cafe, London
Samuel Beckett
Victor's Auto Service, New York
Lincoln's Inn Fields, London
Food market, New York
The Skip Project, hoarding panels at King's Cross
Harvest conveyor belt
Artwork from 'Histoires Naturelles' published by Oneworld Classics
Book covers for Angus Wilson's novels, published by Penguin
VestraWealth, brochure for tax planning division specialising in UK residents living in the US, and vice versa
Broadway and West Houston, New York
59th Street subway station, New York
Big John Carter playing Boogie Woogie on Brick Lane, London
London Fashion Week
General Medical Council, annual report
Schlumberger, annual report
Eurostar, Paris panorama
The Association of British Ports, annual report
Lucinda was born in Surrey, England. She studied at St. Martin’s and Edinburgh College of Art. She lives in London and has been represented by Heart since 2002.
Illustration commissions provide Lucinda with an opportunity to go somewhere she perhaps wouldn’t otherwise. Understanding that Lucinda works on location has led clients to approach her with a variety of unique briefs, often giving her privileged access to areas that are not generally open to the public, be it Bourdon House, Dunhill’s private member club to create artwork for their limited publicity and invitation packs or backstage at London Fashion Week and the BBC studios. Lucinda produced artwork for the Association of British Ports, donning hard hat and fluro jacket to draw on location at two ports in Hull. She has been granted access to private areas of Kensingston Palace in order to provide visualisations for fund raising material for ‘The Victoria Story’ exhibition. Her commissions have taken her backstage at the Globe Theatre, to a basketweaver’s workshop in South East London and regularly into the streets of the East End. A monthly column ‘Country in the City’ for Country Living magazine has given her further opportunity to discover the unexpected in her local London area. Producing artwork on location at the Victoria & Albert Museum’s annual report allowed her to anonymously work amongst other artists and students making notes and drawings around the galleries.
Lucinda does not always work on site, sometimes jobs with short turnarounds, or a different set of criteria demand a different approach. A recent project for the National Academy Museum & School on 5th Avenue in New York, led Lucinda to create several artworks of planned renovations to the interiors. The artworks were used as part of a fundraising document sent out to a select number of potential benefactors. Lucinda knows New York intimately having travelled their often and being the subject of many personal artworks. It was this knowledge that enabled her to work on a project for Vestra Wealth, wanting to produce corporate collateral about their financial planning services for UK and US non-residents, living in either country. A seamless merging of two well known London/New York landmarks, were depicted in a series of images.
The applications of Lucinda’s work have been diverse, whether the work has been created on site or in her studio. Her work has been used on packaging for Artisan Biscuits, within several cookery books including ‘No Place Like Home’ by Rowley Leigh, catalogues for Habitat, BBC idents, a regular column in Country Living magazine and advertising campaigns for Fila.
Lucinda’s commissioned work runs alongside her personal work; location drawings in both London and New York where the cityscape is constantly shifting. Living in East London herself, Lucinda is interested in how change happens and has been involved in many local organisations and groups concerned about urban planning. Many of the locations that Lucinda has drawn over her career no longer exist. Very much aware of this fact, she understands it is a reality beyond her control. Whilst she does not choose locations for posterity, the juxtaposition of old and new, which is often an apparent tension in her compositions, only becomes a political comment as a second thought.
Lucinda’s artworks do not emulate photographic realism but they are not an artist’s impression either, they are realistic. The only editing done is in the choice of location. Lucinda allows the viewer to find the message within and we are granted the opportunity to see something seemingly familiar, for the first time.
Select Client List
Artisan Biscuits, BBC, Association of British Ports, Brockton Capital, Cambridge University, Case de Arbitare, Claridges Hotel, Country Living, Deutsche Bank, Dunhill, Faber & Faber, Fila, The Globe Theatre, The Guardian, Habitat, Harper Collins, Historic Royal Palaces, Inveresk Paper Palaces, The London Library, Los Angeles Times, The National Academy Museum & School, The New Yorker, Orion, Penguin, The Telegraph, Vestra Wealth, Victoria & Albert Museum, William & Sons, World Business