David Borrington’s words I think best sum up Lucie’s approach to art.

When I first met Lucie, she quietly and confidently came into my studio. Within minutes it was no longer my workshop, she eyed up the presses and benches choosing her space to work, right next to our 19th century Albion press. This was now her spot where she always worked. She set up home there and she was one of the only members where the space is left cleaner than when she arrived. As a professional Artist and Fine Art printmaker, it was always refreshing to have Lucie in the workshop, I hope she would agree with me on that. She wasn’t a purist with her printmaking, but an Artist who happened to be using Print, who fully appreciated the craft of printmaking but not allowing that to dictate or limit her overall Art. She did this with great success.

Like a true artist she knew what she wanted but allowed the process to guide her and respond creatively. This allowed her to create very painterly imagery. Such heavy graphical techniques such as lino and woodblock printing, which don’t usually lend themselves easily to this effect. Her imagery was influenced by her travels and life experiences, a potter in Kathmandu, women washing clothes by the river side in India. All these images filled with colour and movement. Her work had the ability to appear both abstract and figurative at the same time, as the overlaying of colour and shape could sometimes be overwhelming. However, within that conflict of material and concept it created a unique environment for Lucie to excel in her practice.

I can probably count the number of artists who I have worked with who have the same intense relationship to colour in their work on one hand. It was like watching Beethoven conducting, colour across 5 to 10 plates to make one single image. Nothing is making sense until the last print which brings the whole thing together. 

Lucie was modest about her own achievements, I believe this is a sign of a true artist, she was hugely proud of getting into the RA summer show in 2014, especially as it was an excellent piece that was accepted: a beautiful delicate woodcut. She was also members of the highly respected Printmakers Council and Southbank Printmakers.

Lucie joined my studio, Dekkle, back in 2011. She was always pushing the processes and not compromising on her idea until she was happy with the image.