Meet the Artist: Lucy Stevens

British contemporary artist Lucy Stevens often works in collaboration, whether that’s with experts in the natural world, or talented photographers and musicians. Her most recent work, alongside The British Trust for Ornithology and Leicestershire & Rutland Wildlife Trust, explores the effects of climate change on migratory birds.

Lucy’s fascinating and expertly considered artworks interpret birdsong, museum collections and conservation data into beautifully colourful mixed-media abstract portraits.

We were thrilled to speak to Lucy, and find out some more about her extraordinary field of avian interest.

Hi Lucy, thank you so much for chatting with us! It’s clear from your work that birds are a key component to your practice, and we hear that you’re an amateur bird watcher. What came first for you: exploring birds in art, or bird watching?

I think it happened at the same time and not necessarily birdwatching but pigeon fancying! I met and interviewed pigeon fanciers [a person who keeps and breeds pigeons] and those that raced pigeons and was really interested in this community and how passionate they were about caring for their birds. After this, I started to notice other birds and explore how to visualise their song as an alternative method to identify them. So, I’d say birdwatching came first, but only just!

It seems that collaboration is also a large factor in how you create, having worked alongside museums, scientists and even musicians. Can you describe how working in this way affects your work? Have any experiences changed the way you create?

I love to collaborate with others, it’s a great way to learn more about birds and nature conservation. My artwork includes interpretations of bird research using symbols, notations and mark making. The information within case studies is very academic so being able to ask an expert questions is helpful. It’s also important for me to understand the research so that I can simplify this information using colour, shape or a repeat pattern.

We think it’s wonderful that you use your practice to educate and help raise awareness for native birdlife. Do you think using art as a vehicle for change is important?

I think all artists have a great opportunity to say something meaningful with their artwork. I create compositions using photographs of natural science collections and mixed media using colourways that complement each other. This combination often encourages questions from the viewer about nature conservation and the history of the bird. It’s important that artwork can be used to start a conversation and this doesn’t necessarily have to be political or about climate change, it can be about connecting with nature and sharing experiences of birdwatching on all levels.

Recently, you collected various field recordings which made their way into your art. Could you explain a little more about this process and how it works?

Field recordings of birdsong at dawn are what have inspired my visual artwork. I recently completed an artist residency at Bankside Hotel with Contemporary Collective and DegreeArt and for this project my main focus was on water birds. The collection of artwork features kingfishers, a moorhen, wigeon, redshank etc. All these works include mark making that demonstrate the birds’ songs and calls. After I’ve recorded the sound, I will listen to it on repeat and visualise it based on its volume, tone, pitch, direction and pattern. I have a register of birdsong that I keep all my notations in.

Lastly, we love to gain a little insight into what our artists love. So firstly, are there any artworks on the marketplace you’ve been drawn to lately? And secondly, we have to know, what’s your favourite bird?

There are so many great artists on the Affordable Art marketplace, but I love the work of Emma Harding, particularly ‘Tiger calls’ and ‘Kid Dreams’. The way she uses mixed media and collage to create these pieces is wonderful and her drawings of people, animals and characters are so expressive. I also really love the abstract, vibrant layers of paint in ‘New Conversations 4’ by artist Marit Geraldine Bostad.

My favourite bird used to be a blackbird because I love their flutey song, striking black feathers and yellow beak, but I think I’m starting to like the song thrush more now as these birds sing different phrases which they repeat between 4-5 times. They’ve been added to the amber list of conservation concern as their numbers are in decline.

It’s incredible to see the possibilities of merging fine art with conservation. Hopefully, her Lucy’s work will inspire future generations of artists to strike this balance in a similar way.

Huge thanks to Lucy for sharing some insight into her fascinating practice with us! StudioName are frequenters of our New York and London fairs, so make sure to keep an eye out for them on your next visit.

Main image: Lucy in her studio.