Painting & Printmaking School of Fine Art

Lucie Robson (she/her)

Exploration of flat blocks of colours, negative space, and abstract imagery are the driving forces of my work. I make sense of the world through constructing compositions from real life; brief glimpses of shapes and colour found in the everyday are distilled into abstract forms. The resulting imagery is maybe recognisable but not relevant to the piece: what is more relevant is my intentional use of colour and form.

I do not use paint in my work; to best flatten colour in my paintings I sew fabric. Stretching the fibres pulls and attracts attention to the bonds of sewing. This display evidences its construction; the creasing, tension, and gathering emphasise its materiality. Simultaneously, recognition of this materiality reaffirms the flatness and embedded status of the imagery in, not on, the work.

Working with sewing and material references a history of craft and women’s work. My paintings sit in consideration of this by utilising the institutional relationships between abstract and decorative; historically decorative employed to dismiss the design of material work and abstract reserved to elevate painting. However, the aesthetic differences are few and far between. I play with material and abstract imagery to position myself somewhere acknowledging but not committing only to this context. My sewn works are not craft object, and I define them as painting

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Primary Red

Stretched material, 50 x 50 cm

Primary Blue

Stretched material, 50 x 50 cm

Train Station

Stretched material, 40 x 60 cm


Stretched material, 26 x 26 cm

Primary Stripes

Stretched material, 26 x 26 cm

Coat One

Stretched material, 25 x 40 cm

Coat Two

Stretched material, 30 x 45 cm

Two Stripes

Stretched material, 160 x 210 cm