Lucy’s interdisciplinary practice unfolds out of her background in performance-making and choreography to consider how a choreographic approach might offer relational, haptic ways of exploring the world around us. Her work often involves social exchange and unconventional collaborations and has taken place in galleries, museums, libraries, housing estates, on water and in the air.
In previous works she has asked, ‘how does a library move?’ creating sound installations and temporary site-specific sculptures for a library in London; explored the act of singing as a gesture of solidarity, harmony and strength with communities in Nine Elms, London; investigated acts of naming in a research residency at the Foundling Museum; delved into the process of how we see for a year-long educational residency with Whitechapel Gallery and created a week of instant composition performances for the OperaEstate in Bassano, Italy.
Between 2005 and 2009 she was an associate member of Chicago-based, Goat Island Performance company with whom she made four moving image works which have screened internationally. In 2010 her choreographies for screen were awarded a fellowship from South East Dance.
Her single screen films have been shown on BBC2, BBC4 and Ch4 and have included Requiem For The Redhead? a special commission for the centenary of Darwin’s Origin of the Species; Einstein and the Honey Bee, an animation which was shortlisted for an environmental award; Sight Reading (redux) which was longlisted for the Aesthetica Art prize (2016) and We Shall Trip the Light Fantastic, a Random Acts commission for Ch4 (2016).
Her moving image installations have been shown in galleries including, HZT and Haus der Kulturen der Welt, Berlin; Hyde Park Art Center, Chicago; Sullivan Galleries, Chicago; Zahoor ul Akhal Gallery, Lahore; Bonnington Gallery, Nottingham; Peter Scott Gallery, Lancaster; Dilston Grove, London; Tate Modern, London; Natural History Museum, London.
Working with 16mm film is a core element of her practice as a moving image artist. For, How The Earth Must See Itself she drew on her knowledge of the materiality of film negative to explore capturing light spill in the Cairngorm Mountain environment.
She moved to Scotland in 2017.