Artist Lucy Ray
Congratulations to Lucy Ray for earning her place as a Finalist in the Boynes Emerging Artist Award 7th Edition!
Who are you?
My name is Lucy Ray. I’m a Melbourne artist raised in Yeppoon, on the traditional land of the Darumbal People of Central Queensland, living between Australia and Abu Dhabi, UAE.
I studied fine art and interior design before turning to a career working as an illustrator, digital artist and textile designer before returning to pursue fine art again in 2017
“A steer, gnats and sheets, a grassy paddock”
Graphite
By Lucy Ray
What inspired you to utilize drawing as a medium?
I'm originally a painter. However, drawing has always been a part of my practice. I fought it at first, as I'd been using my drawing skills commercially and wanted to separate my two worlds. But out of necessity, as we were moving and didn't have the space to paint, I found my way back to it as my current medium of choice.
“An overgrown clearing, two ravens, a mirror, peaches and pool chairs”
Graphite
By Lucy Ray
How would you describe your work?
My practice is about storytelling. The works are a peculiar mirror on which the viewers can layer their perceptions and meaning. Blending the real and imagined in scenes that combine the sense of being an outsider, feelings of being alone but not alone and bridging the ordinary and the uncanny. Recurring themes in my work include loneliness, nostalgia and the notions of sonder and liminality.
Can you discuss the inspiration and thought process behind "A pair of hounds, a stone table, empty bowls, a highway median strip"?
The inspiration for this piece is my many road trips over the years. The road is lit in the hours before the sun rises by lone street lights and the few service stations that scatter highways. It is peaceful and eerie and feels separate from the real world.
Two lone hounds sit by a table in an empty median strip. Are they waiting or guarding? There is a hint of an event but no clues as to what it was. The suggestion of a city is on the horizon, or is it the sun on the low clouds? I wanted to capture the feeling of being in between places.
“A pair of hounds, a stone table, empty bowls, a highway median strip”
Graphite
By Lucy Ray
Can you walk us through the technical steps of creating "A pair of hounds, a stone table, empty bowls, a highway median strip"?
Most of the time, the idea for a piece comes to me fully formed. Either an object or fleeting encounter will trigger the process. I then make a rough thumbnail and refine the composition. From there, I lightly map out the focal points and start laying down marks on paper. This process of layering marks over each other creates a movement and depth to the work that becomes apparent the closer you are to them.
“Desert sunset, an egret, a chair and shell”
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By Lucy Ray
What do you hope to communicate to an audience with your work?
By creating narratives in bleak and desolate environments populated by strange figures and out-of-place objects, I want to invite viewers to contemplate more than what is seen.
Have you experimented with other mediums?
Yes, I'm currently experimenting with oils again and am looking forward to combining both mediums into future series.
Can you talk about your biggest learning experience during the process of creating your work?
Earlier this year, I learned that fixative and humidity don't mix. I'd finished three of the 14 exhibition works. One had taken three months to complete, and I had one month left until the rest had to be done. I'd sprayed and tapped them up, out of the way, not realising that the humidity in the studio had made them slightly damp. After half a day on the wall, I came to take them down, and all were glued. I got them off, damaged but salvageable. I've never panicked and problem-solved so hard at the same time, ever. The lesson - is never to rush the finishing touches.
Lucy Ray in Studio
Can you discuss your biggest success since starting your artistic journey?
My last body of work, The Ghost Who Walks, is it. Before creating these works, I was feeling lost in my practice. I had the technical aspects down but struggled to find my voice and what I wanted to communicate. I had mapped out the works for my solo show but felt they needed a perspective. A week before a catch-up with a mentor, I knew the whole thing had to be rethought. Getting out of the studio and engaging with things that trigger ideas instead of trying to force something that wasn't working was vital.
What projects are you working on currently?
I'm finishing a piece for an invitational show in February next year (sneak peek below) and planning my next series, which I'm feeling good about.
Work in Progress
What is your dream project or piece you hope to accomplish?
Working as large as possible with paint is always the dream. With next year's body of work, I'm working towards some large paintings that the drawings will support.
As a finalist, do you have any advice for artists who want to submit to awards, competitions, residencies, etc.?
With awards and competitions, make sure you apply to the ones in line with your practice, i.e. is the theme in line with your work? As for residencies, consider what you want from them before going in. And reach out to your community. If you're unsure if something is right for you, ask around. But apply. It's the only way you'll get the practice and exposure.
“Five candles, a cat, an empty booth”
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By Lucy Ray
Lastly, I like to ask everyone what advice they would give to their fellow artists/photographers, what is your advice?
It takes time to refine your technical skill and creative process, so do something that adds to your practice daily. Also, keep on top of admin. It's a beast that can quickly get the better of you!
To view more of Lucy Ray’s work