Lucy Somers was born into a family of painters and was surrounded by art from a very young age. Lucy recieved support and encouragement in her creative endeavours, especially from school teacher Joan Weston who was instrumental in Lucy winning the Philomena Kennedy award during A-level.
Lucy's first exhibition when she was 16 years old, showed her work alongside her mother Penny Bearman's work and her grandmother Margaret Peters' work.
At college Lucy was greatly influenced by painting tutor Ian Bottle and their shared interest in flatly segmenting space within their work.
Once at university, Lucy was introduced to Relational Aesthetics, the core theory which had been driving installation and interactive artwork since the 1980's, and set to making sense of this theory in the context of painting. Working with her university tutor John Byrne gave Lucy the opportunity to take part in the Athens Biennial in 2012: Monodrome, curated by Nicolas Bourriaud the theorist and author of Relational Aesthetics.
The work encountered and produced in Athens inspired a new decicive sparcity in her work, and led to the large installation pieced such as "Line Describing A Table" 2012. Questions of the theatricality of the Still Life gave way to a new materiality. Texture and scale became the questions, using materials such as wicker, carpet within outsized paintings.
Lucy's work developed further through contact with MA tutors Imogen Stidworthy and Rosalind Nashashibi, who were instrumental in Lucy's practise broadening into installation work alongside painting, and developing this sustainably, integrating this into the language of colour already developed in the painting practice. The duality of having an installation practice running concurrently to a painting practice has proven highly productive, and also mirrors itself in the later split between figurative and abstract painting.
An as-yet unresolved abstract language of fields of pattern emerged after working with renowned New York artist Hisachika Takahashi. These have been intertwined and brought into relation with highly formal object-portraits, and continue to be developed.
Lucy's work continues to use observation to anchor her work in directly definable scales, creating tension between these and textures and patterns which seem to resist this physical certainty.
Her work can be seen on request, or at an exhibition, most frequently held in Kent and Sussex, UK.
Gene Peters (step-grandfather) and Penny Bearman (mother) holding the hands of a young Lucy at Hartland, Devon. 1991.
'The Marines Return' by Penny Bearman.
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Painting by Ian Bottle.
Detail from 'World Map' installation, created for the MA exhibition 'Tapped' at The Royal Standard, Liverpool. 2013.
'Heavy Drift', Oil on canvas, 2014
'Teeth of the Pomegranate', Oil and acrylic on board, 2015.