I was most upset today to get my invite to this year’s Glasgow Art Fair as it falls while I am in Paris and will make it the first year I have been unable to go. Thankfully my disappointment was lifted by contact from the wonderful artist Lucy Campbell. I first discovered Lucy’s work at the Art Fair in 2006 and within weeks became the proud owner of one of her paintings. Many may try to argue that art is not craft and therefore Lucy would be stretching the limits to be heralded as our Crafter of the Week, but I see craft as creation involving creativity and this lady has it in spades. Her paintings have a magical quality and often combine elements of fairy tales and fables. A key feature is the character of Molly, an elfin girl that captures the spirit and curiousity of youth with attitude..Lucy was born in Perth and has travelled the world before returning to Scotland to paint and raise her family. It is truly an honor to have her take the time out to answer some questions and I hope you all enjoy her work as much as I do…..
You mentioned that you never studied art so I wondered at what point did you decided to try and make a living from art and did anything in particular push you into taking that leap?
I always believed at the back of my mind that i was going to make my life out of art… when I was six I wrote and illustrated a book and I remember wanting to do that for a living when I grew up. i then kind of forgot about that, strangely ‘rebelled’ against the expectation of all (minus parents) that I’d be an artist, wanted to prove (most of all to my Dad) that I was capable of anything, even being a scientist - I just couldn’t really conceive of being anything nearly as sensible as a doctor which is what would have really impressed him - I could only see myself as a zoologist or marine biologist and both of those things were in a way as unrealistic as being an artist. At the bottom of it all though, was the knowledge that I was unavoidably an artist and that this was somehow an enormous disappointment to a revered and feared father, and for years I was very lost trying to find something ‘proper’ to do with myself. I did a degree in Sociology and International Development, during the second year of which it was very clear to me that what I wanted was to paint… I tried to communicate this to my father and was repeatedly met with total negativity, dismissal and eventually three years of silence. Which answers another question below I believe! My mother is also an artist, and she has been more supportive but on the whole always ’stood back’ when it came to my career/life choices – she never displayed a great deal of enthusiasm for my decision to ‘follow her footsteps’ but neither did she try to discourage me in the way Dad did.
Did living in Barcelona and it’s cultural differences from Scotland have any impact on your work and what made you return to Scotland?
Certainly. How exactly I’m not sure, just the city itself is wildly inspiring in a way that the UK never has been for me – clearly it’s also inspired many other artists and continues to do so. One obvious difference between the two countries that had a big impact on my creativity is the culture of mural art/graffiti. Apparently during the civil war (when Barcelona was a centre of resistance against the march of Fascism), wall art was a very important medium of political expression and communication. It was alive and very much part of people’s lives, and continues to be so today and that acceptance of living, vibrant art covering every large wall surface all over the city makes for some fantastic graffiti, not something to be painted over at the earliest opportunity by the council… artists painted and sprayed their work in broad daylight. Some of it was political and some of it purely aesthetic, but all of it colourful and alive and hugely inspiring to me as i walked my daily 45 min trek from my flat to my studio.
I’m fairly convinced that I’d still be living in Barcelona today if I hadn’t had my son, Troy. Having a baby changes priorities. My family is in Scotland and to be able to work and be the kind of parent I want to be I needed the support of family, which I didn’t have in Spain. I also believe that having some sort of extended family is really important for children, so I decided to move back for that reason really.
Is Molly part of you? If she is does how you are feeling come through in your work?
Very much so – it’s all completely personal… not to say that she is meant to resemble me in a physical sense (i wish!) as some people have bizarrely suggested. but yes, when I’m feeling dark and twisted, the paintings are darker, although I try to portray light rather than dark on the whole.
Many of your paintings tell as story and I feel they would make a wonderful storybook, have you ever considered publishing a book of stories about Molly with your work?
Many times, all the time… in fact, there have been a couple of attempts, but nothing as yet finished or worth publishing. She has appeared on the cover of a few books though, and as illustrations to short stories based on her character by an Argentine writer.
How do you find time between being a mum and a painter?
That’s a big struggle… since moving here I count on a lot of help from my Mum. Then there’s a childminder one full day a week… and I have two and a half hours each weekday morning. It’s pretty horrible really, finding the time between them both because they both demand a lot of time. My husband works full time and wants to relax at the weekend, when I’m desperate to do some of my work. When I have a lot of deadlines I become an insomniac, which is actually quite helpful. And I let a lot of stuff slip that I shouldn’t, like updating my website and keeping my books.
When you decided you were going to persue art as a career were your friends and family supportive?
See above! My friends generally yes have always been supportive. Would they be friends if they weren’t? And other members of my family, my sisters, also supported my decision, and tried to help me find ways to make a living as an artist.
What is the hardest thing about being an artist? .
For me, it definitely used to be the money bit. Knowing how to ’sell’ and how to charge for what I do – learning that the material side of it is as important as the creative side of it was really tough. I’m still pretty rubbish at that, but getting better. Then there is another nasty thing about being an artist, which is putting yourself ‘on show’ with your paintings. It’s like baring your soul to a bunch of strangers … I find my working ‘process’ quite schitzophrenic, quite mad, and sometimes very lonely, despite being quite a hermit type naturally – as I work from home since becoming a mum, I find I miss the contact with other human beings I had when I worked in collective studios. I guess the biggest occupational hazard of being an artist is that it’s not great for one’s mental health!
Would you ever consider doing commissions or is it important for you to chose your subjects?
Oh, I’m an art-whore, I do commissions and I have even copied my own work for people. I’ve never been commissioned to paint a subject other than my own, though, if you see what I mean… usually when I get commissions the client wanted a painting that was already sold, and requests that I do them something similar (when I say I’ve copied my own work, this is what I’m referring to), or else they tell me who the painting is for or where in their house they plan to hang it and I’m free to do whatever I think might fit the bill. In fact I like doing commissions because it takes out the aforementioned ‘baring my soul’ anxiety!
Do you only work in one medium of have you considered other artistic outlets such as photography?
I’m a painter… I love photography, and would definitely like to explore other mediums, but for the time being I’m pushed for time as it is!! When I find the time, next on the agenda is the medium of story-books/comics, animation and print-making. One day.
Which of your paintings are you more proud of and why?
They come and go out of my life very quickly, I don’t get much of a chance to dwell on any particular one after it’s finished… there are some (like The Wolf’s Eyelash) that I really love because they illustrate certain stories/themes very dear to my heart, or very meaningful to me at the time I painted the painting. I did a series recently based on a story about a lonely seal-hunter who kidnaps a seal-woman to make her his wife, and they were very powerful to me but probably fairly meaningless to the majority of people! I guess though that the ones I’m most ‘proud’ of are the two original 2m high canvases of Molly, from the very first exhibition I put on in Barcelona, because they were the first… the first leap into a completely different style and approach, and also my moment of realisation that I had to let go of any preconceptions of what ‘art’ is and just do my own thing.
Many may argue that a lot of art is about hype and waffled explanations rather than real talent. How do you feel about the state of British Art today?
The Argentinian writer I mentioned before, who has written a series of short novels based on Molly, recently said to me that I was lucky to be living in the only place on the planet where art is consumed like sweeties. He’s right: compared with much of the rest of the world, the UK is fairly unique in having a large number of inhabitants who can afford and want to own original art. That’s one aspect of British Art today: it’s possible to ‘be’ an artist here. Then there are the super-artists, like the supermodels, the celebrities, and that’s a completely different kettle of fish, a kind of modern-day phenomenon of marketing and globalization that I find totally fascinating and absolutely nothing akin to what I do. I think that some very high profile artists do have a huge amount of talent, say Damien Hirst to give an example, but that their massive success also definitely rides on a wave of mega-hype. Other Brit Art really transmits nothing to me and to my mind relies completely on hype, but I think that in a way is an art-form in itself and always has been, in the sense of the Emperor’s New Clothes, a kind of illusionism, and if people fall for it, well, congratulations to the perpetrator of the illusion!
Why did you choose to have your own website and do you feel it has been successful in introducing your work to a wider audience?.
I learnt to make websites during that time when I was wanting to be an artist but not knowing how I wanted to be one… trying to find a meaningful and creative way of making a living that I’d be able to enjoy. I don’t mind doing them but I’m not a very techy person and I get bored of sitting in front of a computer screen. So I put this knowledge to some use and made my own site, because it never occurred to me to pay someone else to do it for me, but it’s not very well done and one day I’ll have to redo the whole shebang. If it were better-made it’d probably get my work out to a much wider audience, but for being homemade it’s not done too badly - I do get work through the site from people who’ve never seen my work in the flesh, and it’s also been a very handy way to showcase myself to galleries.
If you could spend a week working with any artist (dead or alive) who would it be and why?
I really don’t know… perhaps Joan Miró, because his work blows me away and is so completely different to what I do. It seems to me that he had a lot of fun with what he did. I also know that he had an amazing huge studio in Barcelona as well as one in Marjorca, and I fancy spending a week in either…
As a creative person do you have any other outlets for your creativity – sewing, creative writing, musical instrument etc?
Used to have many – before I actually started to focus properly on what I was doing I did all sorts of crafty/creative stuff: I made candles and cards that I sold, I wrote a lot, many moons ago I played the violin and I find dancing a wonderful outlet of some sort…
Do you feel it is important for artists to experiment or should they concentrate on an identifiable style?
Experiment to the heart’s content. Having an identifiable style is important for an artist in as much as creating a corporate identity is important for a brand to be recognisable in the market… but no one should ever feel trapped inside an identity or that they must stick rigidly to their ’style’ in the name of artistic integrity – change is very important and after all we are evolving all the time.
What advice would you give to anyone considering a career in art?
Don’t get hung up on any preconceived idea about what it is to be an artist – do your own thing and enjoy it, be it.
What would you consider as successful in the world of art?
I consider myself successful because I do what I love, and I live from it. My father (who incidentally is fully supportive of me these days) always wants to know what percentage of work submitted to an exhibition, sells. As in, out of x number of paintings, you sold y, which is, say, 60%… I think he does it to wind me up, but he also just can’t get it in his head that to my mind, having ’survived’ just painting random stuff out of my imagination, to sell one painting is a success… it doesn’t matter numerically, it’s the fact that I’ve made it this far that counts.
What are your plans for 2008?
Probably way too ambitious, given that I’m about to give birth to a second baby… but the plans are to do the AAF in London and the Glasgow Art Fair in March; various group shows in Scottish Galleries through June to September, a solo show in Frames in November and to send work to a gallery in LA for the first time, also in November. It may all come apart at the seams though, as the baby will take priority. Hopefully in 2009 I’ll do a solo in LA as I’ve always been curious to put my work out in the US, and at some point i want to make it back to Barcelona.
Well, I for one, wish Lucy all the best in achieving these goals and thank her once again for taking time out for shescrafty.co.uk.
Posted: February 3rd, 2008 under Art/Illustration, Crafter of the Week.
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