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LUCIA JONES

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Happy International Women’s day all! Enjoy some incredible women artists who’s work I’ve been digging recently 👏🏼 🤩

Lisa Ivory @lisaivory888
Hannah Murray @hannah_murray_artist
Donna McLean @mcleanpaintings
Cathy Lomax @cathylomax
Angela Lizon @angelalizon
Johanna Bath @fraeulein_bath
Jill Tate @jilltate_
Rachel Lancaster @rachel__lancaster
Amber Cowan @amber.cowan

#internationalwomensday #iwd #painting #womanartist

Happy International Women’s day all! Enjoy some incredible women artists who’s work I’ve been digging recently 👏🏼 🤩

Lisa Ivory @lisaivory888
Hannah Murray @hannah_murray_artist
Donna McLean @mcleanpaintings
Cathy Lomax @cathylomax
Angela Lizon @angelalizon
Johanna Bath @fraeulein_bath
Jill Tate @jilltate_
Rachel Lancaster @rachel__lancaster
Amber Cowan @amber.cowan

#internationalwomensday #iwd #painting #womanartist

‘I was nowhere to be found’ is now available through Art on a Postcard’s International Women’s Day Auction! I’m lot 376 🔗 link in bio to register to bid ⁠

This February, @artonapostcard celebrates their Sixth International Women’s Day Auction. This year, the all-female line up has been curated by six guest curators and includes fine art and photography works. Since 2014, Art on a Postcard has raised more than £2 million for @hepatitisctrust through the charity’s signature postcard auctions, which are considered an unmissable opportunity for spotting new talent as well as acquiring mini-masterpieces by world-famous, sought-after names.  ⁠⁠ ⁠

🗓️ Auction: 27th February - 13th March⁠
📍 PV: 4th March at The Bomb Factory, Marylebone, NW1 6JQ ⁠ ⁠ @thebombfactoryartfoundation

#artonapostcard #aoap #internationalwomensday #iwd #artauction

‘I was nowhere to be found’ is now available through Art on a Postcard’s International Women’s Day Auction! I’m lot 376 🔗 link in bio to register to bid ⁠

This February, @artonapostcard celebrates their Sixth International Women’s Day Auction. This year, the all-female line up has been curated by six guest curators and includes fine art and photography works. Since 2014, Art on a Postcard has raised more than £2 million for @hepatitisctrust through the charity’s signature postcard auctions, which are considered an unmissable opportunity for spotting new talent as well as acquiring mini-masterpieces by world-famous, sought-after names.  ⁠⁠ ⁠

🗓️ Auction: 27th February - 13th March⁠
📍 PV: 4th March at The Bomb Factory, Marylebone, NW1 6JQ ⁠ ⁠ @thebombfactoryartfoundation

#artonapostcard #aoap #internationalwomensday #iwd #artauction

Delighted to be featured in @artyartzine issue 48; what a joy and privilege to collect from @cathylomax in her studio and have a chat about all things cinema, painting and process 🫶🏼

I’m in incredible company in this magazine. Here’s the link to purchase edition 48 @artyartzine - a fantastic read!! 🔗

#artmagazine #art #painting #contemporaryart #london

Delighted to be featured in @artyartzine issue 48; what a joy and privilege to collect from @cathylomax in her studio and have a chat about all things cinema, painting and process 🫶🏼

I’m in incredible company in this magazine. Here’s the link to purchase edition 48 @artyartzine - a fantastic read!! 🔗

#artmagazine #art #painting #contemporaryart #london

Happy Valentine’s all! Here’s a throwback to a painting of mine from 2020 ‘Gli innamorati, (the lovers)’. Prints of this painting are available via my shop ➡️ ❤️

My interest in, and the influence of, theatre and performance in my work has been longstanding, coming to the fore more consciously in my latest body of work. This painting was also born from an interest in ‘stock characters’ from Commedia dell’Arte (traditional Italian theatre) which soon developed into a focus on the tropic roles of women in film.

Side note: recently saw the Marriage of Figaro @walesmillenniumcentre (highly recommend), which employs Commedia dell’Arte, so enjoy my favourite aria 🎶

#celf #art #valentines #lovers #marriageoffigaro #theatre #opera #artlover

Happy Valentine’s all! Here’s a throwback to a painting of mine from 2020 ‘Gli innamorati, (the lovers)’. Prints of this painting are available via my shop ➡️ ❤️

My interest in, and the influence of, theatre and performance in my work has been longstanding, coming to the fore more consciously in my latest body of work. This painting was also born from an interest in ‘stock characters’ from Commedia dell’Arte (traditional Italian theatre) which soon developed into a focus on the tropic roles of women in film.

Side note: recently saw the Marriage of Figaro @walesmillenniumcentre (highly recommend), which employs Commedia dell’Arte, so enjoy my favourite aria 🎶

#celf #art #valentines #lovers #marriageoffigaro #theatre #opera #artlover

Over the moon to be featured in @artyartzine’s latest issue ‘Windows’ 🪟 Get your copy via the link in @artyartzine bio 🔗

Back cover image: Extended Warranty, 7 x 5 inches, Oil and Acrylic on Board - currently available via @irving.gallery 💛

#celf #art #painting #artistsoninstagram #artlover

Over the moon to be featured in @artyartzine’s latest issue ‘Windows’ 🪟 Get your copy via the link in @artyartzine bio 🔗

Back cover image: Extended Warranty, 7 x 5 inches, Oil and Acrylic on Board - currently available via @irving.gallery 💛

#celf #art #painting #artistsoninstagram #artlover

Installing ‘Intersum’, my second curatorial project as @occupata.art - it’s like Christmas unwrapping all the work from my amazing artists 🥰

PV is Thursday 6pm, all welcome!

#painting #art #sculpture #celf #artist #curator #artlover

Installing ‘Intersum’, my second curatorial project as @occupata.art - it’s like Christmas unwrapping all the work from my amazing artists 🥰

PV is Thursday 6pm, all welcome!

#painting #art #sculpture #celf #artist #curator #artlover

My selection of gouache on paper works are now up and available @waterloogardens #cardiff in aid of @mindcharity @mindcymru - with a % of sales going to Mind!

Do pop in! I’ve also got a donate link in bio 🙏🏼

#miniart #exhibition #artforsale #charity

My selection of gouache on paper works are now up and available @waterloogardens #cardiff in aid of @mindcharity @mindcymru - with a % of sales going to Mind!

Do pop in! I’ve also got a donate link in bio 🙏🏼

#miniart #exhibition #artforsale #charity

Santes Dwynwen Hapus! 🧡 🏴󠁧󠁢󠁷󠁬󠁳󠁿

A painting about the most special someone 💍

Image: Catching Feelings (detail), Oil and Acrylic on Board, 5 x 7 inches, 2023 - painted for ‘A world of her own’ @elysiumswansea @celfcymruarts

#santesdwynwenhapus #santesdwynwen #painting #celf #welsh #wales

Santes Dwynwen Hapus! 🧡 🏴󠁧󠁢󠁷󠁬󠁳󠁿

A painting about the most special someone 💍

Image: Catching Feelings (detail), Oil and Acrylic on Board, 5 x 7 inches, 2023 - painted for ‘A world of her own’ @elysiumswansea @celfcymruarts

#santesdwynwenhapus #santesdwynwen #painting #celf #welsh #wales

Sneak peek at works for ‘Encore’, an exhibition I’m putting on @waterloogardens opening 4th Feb in aid of @mindcharity @mindcymru

Percentage of proceeds will be going to Mind.

#charity #artlover #artforsale #painting #celf

Sneak peek at works for ‘Encore’, an exhibition I’m putting on @waterloogardens opening 4th Feb in aid of @mindcharity @mindcymru

Percentage of proceeds will be going to Mind.

#charity #artlover #artforsale #painting #celf

Absolute privilege to have had my latest solo show ‘Spectacle’ @irving.gallery 🤍

Huge thanks to Vanessa - it’s been such a joy to work with you on this, everyone who made the exhibition possible and those that came to visit. Massive thank you also to those who will be taking their own part of ‘Spectacle’ home; delighted to see the works to find their way out into the world. What a way to end 2024 and start 2025! ✨

#painting #artist #oxford #contemporaryart #femaleartist

Absolute privilege to have had my latest solo show ‘Spectacle’ @irving.gallery 🤍

Huge thanks to Vanessa - it’s been such a joy to work with you on this, everyone who made the exhibition possible and those that came to visit. Massive thank you also to those who will be taking their own part of ‘Spectacle’ home; delighted to see the works to find their way out into the world. What a way to end 2024 and start 2025! ✨

#painting #artist #oxford #contemporaryart #femaleartist

✨ Last two days to see ‘Spectacle’ @irving.gallery ✨

Here are some highlights still available for purchase, all enquiries to vanessa@irvinggallery.com ✉️

#painting #art #contemporaryart #femaleartist #buyart

✨ Last two days to see ‘Spectacle’ @irving.gallery ✨

Here are some highlights still available for purchase, all enquiries to vanessa@irvinggallery.com ✉️

#painting #art #contemporaryart #femaleartist #buyart

All enquiries to @irving.gallery ✉️

#painting #art #artlover #artistsoninstagram

All enquiries to @irving.gallery ✉️

#painting #art #artlover #artistsoninstagram

Kicking off the New Year with a painting photo shoot; new body work on the way folks 🎥 🍿 🖼️ 🎂 🪩

#painting #artlover #womanartist #artist

Kicking off the New Year with a painting photo shoot; new body work on the way folks 🎥 🍿 🖼️ 🎂 🪩

#painting #artlover #womanartist #artist

‘Give her a minute, she’ll be back’ and ‘Bernini to my Teresa’, currently available @irving.gallery

All enquiries to vanessa@irvinggallery.com 📧

#painting #art #artcollector #artlover

‘Give her a minute, she’ll be back’ and ‘Bernini to my Teresa’, currently available @irving.gallery

All enquiries to vanessa@irvinggallery.com 📧

#painting #art #artcollector #artlover

Check out a selection of my works available from ‘Spectacle’ @irving.gallery #art #painting #femaleartist

Check out a selection of my works available from ‘Spectacle’ @irving.gallery #art #painting #femaleartist

Please check out the free online exhibition catalogue for my show ��‘Spectacle’ @irving.gallery which runs until 18.1.25 📖 🔗 in bio 🫶🏼

Created by me in @canva 💃🏼
All enquiries to Irving Gallery ✉️

#painting #femaleartist #artlover #artcollector #contemporaryart

Please check out the free online exhibition catalogue for my show ‘Spectacle’ @irving.gallery which runs until 18.1.25 📖 🔗 in bio 🫶🏼

Created by me in @canva 💃🏼
All enquiries to Irving Gallery ✉️

#painting #femaleartist #artlover #artcollector #contemporaryart

Thrilled to be kicking off the New Year as the cover of the @friendsoftheglynnvivian newsletter! 🤩 Also to be shown alongside my dear friend and studio-mate @zenablackwellartist @cardiff_arcade_studios @arcadecampfa and a feature on @beeppainting which I’m a part of and is heading to Aberystwyth! 🫶🏼

Thanks for featuring me team! Do give them a follow folks! @louisejburston @glynnvivian

Featured paintjngs ‘Can’t help yourself’ and ‘Give them the ol’ razzle dazzle’ are currently available via @irving.gallery as part of my solo show ‘Spectacle’ 🩵

#painting #femaleartist #artcollector #artlover #celf

Thrilled to be kicking off the New Year as the cover of the @friendsoftheglynnvivian newsletter! 🤩 Also to be shown alongside my dear friend and studio-mate @zenablackwellartist @cardiff_arcade_studios @arcadecampfa and a feature on @beeppainting which I’m a part of and is heading to Aberystwyth! 🫶🏼

Thanks for featuring me team! Do give them a follow folks! @louisejburston @glynnvivian

Featured paintjngs ‘Can’t help yourself’ and ‘Give them the ol’ razzle dazzle’ are currently available via @irving.gallery as part of my solo show ‘Spectacle’ 🩵

#painting #femaleartist #artcollector #artlover #celf

What a year! From exhibiting in New York with @chairishco to a solo in Oxford with @irving.gallery , being interviewed by @puigypics for @createmagazine , making the longlist for @beeppainting and launching @occupata.art . 2024 has been full of career highs, with incredible projects already lined up for 2025. Nothing, however, can top the absolute privilege of marrying my better half; so ready to embark on this year with you and every one hence. Here’s to love, art and everything that’s yet to come in 2025 🥂

Photo @imogenevephotography 🤍

#art #painting #contemporaryart #2025 #femaleartist

What a year! From exhibiting in New York with @chairishco to a solo in Oxford with @irving.gallery , being interviewed by @puigypics for @createmagazine , making the longlist for @beeppainting and launching @occupata.art . 2024 has been full of career highs, with incredible projects already lined up for 2025. Nothing, however, can top the absolute privilege of marrying my better half; so ready to embark on this year with you and every one hence. Here’s to love, art and everything that’s yet to come in 2025 🥂

Photo @imogenevephotography 🤍

#art #painting #contemporaryart #2025 #femaleartist

Extended Warranty - Oil and Acrylic on Board, 7 x 5 inches £500

‘Spectacle’ @irving.gallery runs until 18.1.25 - please contact Irving for all enquiries.

This painting, inspired by ‘The Fog’ (1980), is an example within my practice of where the mundane moments gain significance through the act of being painted. Created during a period where I focused on objects, such as phones, it captures a woman engaged in a phone call. Including this act in a painting has become a cypher, visual shorthand for communicating with self. By painting this moment, the ordinary is elevated, becoming a spectacle in itself—a reflection on how art transforms the mundane into something worth observing.

Side note - one of my all time favourite films 🎥

#painting #johncarpenter #femaleartist #contemporaryart @johncarpenterofficial

Extended Warranty - Oil and Acrylic on Board, 7 x 5 inches £500

‘Spectacle’ @irving.gallery runs until 18.1.25 - please contact Irving for all enquiries.

This painting, inspired by ‘The Fog’ (1980), is an example within my practice of where the mundane moments gain significance through the act of being painted. Created during a period where I focused on objects, such as phones, it captures a woman engaged in a phone call. Including this act in a painting has become a cypher, visual shorthand for communicating with self. By painting this moment, the ordinary is elevated, becoming a spectacle in itself—a reflection on how art transforms the mundane into something worth observing.

Side note - one of my all time favourite films 🎥

#painting #johncarpenter #femaleartist #contemporaryart @johncarpenterofficial

Here I’ll stay (after Millais) - Oil and Acrylic on Board, 36 x 24 inches £2500

‘Spectacle’ @irving.gallery runs until 18.1.25 - please contact Irving for all enquiries.

Millais’ ‘Ophelia’ (1852) is a painting I always make a point of visiting when in London @tatecollective . I’ve been drawn to it long before I had an arts practice, with my interest in theatre being one of the early pulls to the work. Transcribing this painting has been on my mind for over a year, and I could not put together an exhibition about female experience without including one of the most renowned characters in literature. Ophelia has been recontextualised repeatedly in media, art, and film, underscoring her prominence and enduring relatability to modern audiences.

A victim in Shakespeare’s Hamlet (1623), her fate shaped by the men who control her world. When viewed through the lens of “spectacle” in this exhibition, she becomes a harrowing image of disempowerment, seeking control in the only way she can desperately achieve it. Her story feels both timeless and tragically relevant, reflecting societal pressures that oscillate between disregard and overwhelm. For this exhibition, I wanted to traverse these extremes, and Ophelia felt essential in touching upon the lows. This rendition pulls from multiple influences, including candid photographs of Marilyn Monroe by Mischa Pelz, particularly one featuring a parasol, which I’ve incorporated into the painting. Unlike traditional depictions, I wanted to emphasise the sense of being observed, which led to the inclusion of a chair and table—elements also present in ‘Give Her a Minute...She’ll Be Back’ (2023). These details draw attention to the act of observation and further blur the lines between Ophelia’s private grief and the public gaze.

Ophelia’s tragic end has often been interpreted as a retreat into the feminine, reflecting society’s tendency to idealise and marginalise women simultaneously. Through this iteration, I aim to highlight her enduring resonance while positioning her as a figure navigating the complexities of identity, agency, and observation in both past and present contexts.

#ophelia #painting #femaleartist #tatebritain

Here I’ll stay (after Millais) - Oil and Acrylic on Board, 36 x 24 inches £2500

‘Spectacle’ @irving.gallery runs until 18.1.25 - please contact Irving for all enquiries.

Millais’ ‘Ophelia’ (1852) is a painting I always make a point of visiting when in London @tatecollective . I’ve been drawn to it long before I had an arts practice, with my interest in theatre being one of the early pulls to the work. Transcribing this painting has been on my mind for over a year, and I could not put together an exhibition about female experience without including one of the most renowned characters in literature. Ophelia has been recontextualised repeatedly in media, art, and film, underscoring her prominence and enduring relatability to modern audiences.

A victim in Shakespeare’s Hamlet (1623), her fate shaped by the men who control her world. When viewed through the lens of “spectacle” in this exhibition, she becomes a harrowing image of disempowerment, seeking control in the only way she can desperately achieve it. Her story feels both timeless and tragically relevant, reflecting societal pressures that oscillate between disregard and overwhelm. For this exhibition, I wanted to traverse these extremes, and Ophelia felt essential in touching upon the lows. This rendition pulls from multiple influences, including candid photographs of Marilyn Monroe by Mischa Pelz, particularly one featuring a parasol, which I’ve incorporated into the painting. Unlike traditional depictions, I wanted to emphasise the sense of being observed, which led to the inclusion of a chair and table—elements also present in ‘Give Her a Minute...She’ll Be Back’ (2023). These details draw attention to the act of observation and further blur the lines between Ophelia’s private grief and the public gaze.

Ophelia’s tragic end has often been interpreted as a retreat into the feminine, reflecting society’s tendency to idealise and marginalise women simultaneously. Through this iteration, I aim to highlight her enduring resonance while positioning her as a figure navigating the complexities of identity, agency, and observation in both past and present contexts.

#ophelia #painting #femaleartist #tatebritain

Bernini to my Teresa - Oil and Acrylic on Board, 8 x 10 inches £725

‘Spectacle’ @irving.gallery runs until 18.1.25 - please contact Irving for all enquiries.

This work is inspired by Bernini’s ‘Ecstasy of Saint Teresa’ (1652) and ‘Blade Runner’ (1982), particularly the scene depicting the “retirement” (or assassination) of the android Zhora. The visual parallel between the two has resonated with me for some time: both figures, open-mouthed, are illuminated by light as they navigate a transformative threshold—one crossing into divine ecstasy, the other into the artificial light of a dystopian future and death.

For me, this painting serves as an allegory for the exposure and unleashing of one’s true self, often catalysed by external forces. The title reflects this dynamic, as Bernini himself transformed Teresa’s private, mystical experience into a shared, almost theatrical moment, elevating it from written records to an iconic visual narrative. In doing so he is accused of turning “into a very public spectacle” as referenced in ‘The Saint Behind the Sculpture: (Re)Interpreting Saint Teresa’s Ecstasy through a Feminist Analysis of Bernini’s The Ecstasy of Saint Teresa’ (2001). This piece also draws on the subtext of Bernini’s sculpture, with its dual readings of divine rapture and physical desire, piercing through boundaries of body, soul, and perception. Similarly, this painting weaves personal experience into a public-facing artwork, capturing the tension between internal transformation and its outward expression. Through these layers, the work speaks to the intersection of vulnerability, revelation, and performance.

2 - Zhora’s retirement, Bladerunner Final Cut (1982)
3 - The Ecstasy of St Teresa (detail), Bernini (1652)

#painting #bladerunner #artlover #femaleartist #artcollector

Bernini to my Teresa - Oil and Acrylic on Board, 8 x 10 inches £725

‘Spectacle’ @irving.gallery runs until 18.1.25 - please contact Irving for all enquiries.

This work is inspired by Bernini’s ‘Ecstasy of Saint Teresa’ (1652) and ‘Blade Runner’ (1982), particularly the scene depicting the “retirement” (or assassination) of the android Zhora. The visual parallel between the two has resonated with me for some time: both figures, open-mouthed, are illuminated by light as they navigate a transformative threshold—one crossing into divine ecstasy, the other into the artificial light of a dystopian future and death.

For me, this painting serves as an allegory for the exposure and unleashing of one’s true self, often catalysed by external forces. The title reflects this dynamic, as Bernini himself transformed Teresa’s private, mystical experience into a shared, almost theatrical moment, elevating it from written records to an iconic visual narrative. In doing so he is accused of turning “into a very public spectacle” as referenced in ‘The Saint Behind the Sculpture: (Re)Interpreting Saint Teresa’s Ecstasy through a Feminist Analysis of Bernini’s The Ecstasy of Saint Teresa’ (2001). This piece also draws on the subtext of Bernini’s sculpture, with its dual readings of divine rapture and physical desire, piercing through boundaries of body, soul, and perception. Similarly, this painting weaves personal experience into a public-facing artwork, capturing the tension between internal transformation and its outward expression. Through these layers, the work speaks to the intersection of vulnerability, revelation, and performance.

2 - Zhora’s retirement, Bladerunner Final Cut (1982)
3 - The Ecstasy of St Teresa (detail), Bernini (1652)

#painting #bladerunner #artlover #femaleartist #artcollector

Give her a minute, she’ll be back - Oil and Acrylic on Board, 100 x 70 cms £2500

‘Spectacle’ @irving.gallery runs until 18.1.25 - please contact Irving for all enquiries.

This painting, inspired by the film ‘Mannekäng i rött (1958), explores themes of self-reflection and the tension between being seen and unseen. The presence of a gloved hand and a knee in the corner hints at another observer in addition to the viewer, heightening the sense of being watched and judged—a reality deeply familiar to women contending with societal pressures to maintain an acceptable facade while hiding internal struggles. It remains ambiguous who is who, whether the women are in fact one woman or not. I wanted to blur the lines of perspective in observation, inviting the viewer into the dynamic.

#painting #femaleartist #contemporaryart #garden

Give her a minute, she’ll be back - Oil and Acrylic on Board, 100 x 70 cms £2500

‘Spectacle’ @irving.gallery runs until 18.1.25 - please contact Irving for all enquiries.

This painting, inspired by the film ‘Mannekäng i rött (1958), explores themes of self-reflection and the tension between being seen and unseen. The presence of a gloved hand and a knee in the corner hints at another observer in addition to the viewer, heightening the sense of being watched and judged—a reality deeply familiar to women contending with societal pressures to maintain an acceptable facade while hiding internal struggles. It remains ambiguous who is who, whether the women are in fact one woman or not. I wanted to blur the lines of perspective in observation, inviting the viewer into the dynamic.

#painting #femaleartist #contemporaryart #garden

Can’t help yourself - Oil and Acrylic on Board, 5 x 7 inches £500

‘Spectacle’ @irving.gallery runs until 18.1.25 - please contact Irving for all enquiries.

Women on the phone are often a subject within my work as is the water making another appearance. In this work it shows a mind here: sparkling, full, and giddy, brimming with restless energy. I carried that through to the application of paint and the disjointed composition. It is inspired by ‘A Date with Judy’ (1948)—a romantic comedy and features Elizabeth Taylor’s character, Carol, on the phone. For me the work is about connecting back to a time of infatuation, when emotions are more in control than logic.

#painting #contemporaryart #womenartists #oldhollywood #film #crush

Can’t help yourself - Oil and Acrylic on Board, 5 x 7 inches £500

‘Spectacle’ @irving.gallery runs until 18.1.25 - please contact Irving for all enquiries.

Women on the phone are often a subject within my work as is the water making another appearance. In this work it shows a mind here: sparkling, full, and giddy, brimming with restless energy. I carried that through to the application of paint and the disjointed composition. It is inspired by ‘A Date with Judy’ (1948)—a romantic comedy and features Elizabeth Taylor’s character, Carol, on the phone. For me the work is about connecting back to a time of infatuation, when emotions are more in control than logic.

#painting #contemporaryart #womenartists #oldhollywood #film #crush

Now what? - Oil and Acrylic on Board, 36 x 24 inches £2500

‘Spectacle’ @irving.gallery runs until 18.1.25 - please contact Irving for all enquiries.

This painting captures a moment of self-talk, a quiet “oh, what now?” as a situation unfolds and is the precursor to ‘Do you want to form an alliance, with me? (Absolutely I do)’ (2024), sourcing the same film ‘Wasp Woman’ (1959). The composition came from, what I feel is a universal experience of, making decisions without necessarily thinking things through.

The composition presented an opportunity to understand and articulate the inclusion of objects in my work beyond what source images provided, and so this work fed into the ‘staged scene’ approach within my recent paintings. In this work, it manifested as self-representation through objects; two figures, two phones but a single chair. I also leant into water serving, as a now recurring marker, of tension within compositions. This was driven by a revisit to a personal favourite from Edward Hopper, ‘Rooms by the Sea’ (1951). My painting ended up as a similar exploration of space, light, and emotional undercurrents.

Technically, this was one of the first pieces working with bare wood with washes of acrylic and partial priming for areas to be painted in oil. This approach was a nod to my university days, when I worked on rabbit skin glue-primed canvases that left the raw material visible, allowing the surface and treatment of painted space to become an integral part of a composition.

#painting #femaleartist #anxiety#contemporaryart #sea

3 - Rooms by the Sea, Hopper (1951) (detail)

Now what? - Oil and Acrylic on Board, 36 x 24 inches £2500

‘Spectacle’ @irving.gallery runs until 18.1.25 - please contact Irving for all enquiries.

This painting captures a moment of self-talk, a quiet “oh, what now?” as a situation unfolds and is the precursor to ‘Do you want to form an alliance, with me? (Absolutely I do)’ (2024), sourcing the same film ‘Wasp Woman’ (1959). The composition came from, what I feel is a universal experience of, making decisions without necessarily thinking things through.

The composition presented an opportunity to understand and articulate the inclusion of objects in my work beyond what source images provided, and so this work fed into the ‘staged scene’ approach within my recent paintings. In this work, it manifested as self-representation through objects; two figures, two phones but a single chair. I also leant into water serving, as a now recurring marker, of tension within compositions. This was driven by a revisit to a personal favourite from Edward Hopper, ‘Rooms by the Sea’ (1951). My painting ended up as a similar exploration of space, light, and emotional undercurrents.

Technically, this was one of the first pieces working with bare wood with washes of acrylic and partial priming for areas to be painted in oil. This approach was a nod to my university days, when I worked on rabbit skin glue-primed canvases that left the raw material visible, allowing the surface and treatment of painted space to become an integral part of a composition.

#painting #femaleartist #anxiety#contemporaryart #sea

3 - Rooms by the Sea, Hopper (1951) (detail)

@irving.gallery for all enquiries ✉️
@luciajones.art

#art #femaleartist #painting #figurativeart #women

@irving.gallery for all enquiries ✉️
@luciajones.art

#art #femaleartist #painting #figurativeart #women

I woke up like this, obviously - Oil and Acrylic on Board, 12 x 12 inches £1050

‘Spectacle’ @irving.gallery runs until 18.1.25 - please contact Irving for all enquiries.

It wasn’t my intention to work with imagery from ‘Aliens’ (1986) and a photograph of Monica Bellucci looking very glamorous, and as though she has just woken up, in one painting. Sometimes these odd combinations occur as it progresses. I had started this as a satirical commentary, one referenced in films such as ‘Bridesmaids’ (2011), that women wake up looking fabulous and perfectly made up. It was also an attempt to hark back to the projection of headspace behind the featured woman in my paintings as I have done in several older works such as ‘Somewhere Else’ (2020).

The combination of the two creates a strange dichotomy in which Ripley has just been awakened from cryo-sleep of 57 years and is sat on a bench with a holographic garden surrounding her (referenced by the blue woods in the corner) whilst Bellucci however has fresh cut flowers. In this instance there isn’t a clear distinction which is ‘real’ in terms of the content of the painting. It’s a looser work, more open to interpretation, a piecing together of disparate sources and an enjoyment of different applications of paint.

#painting #femaleartist #sleepy #contemporaryart #portrait

3 - Sigourney Weaver in Aliens (1986)
4 - @monicabellucciofficiel in Briganti: Amore e Libertà (1994)
5 - Kirsten Wiig in Bridesmaids (2011)
6 - Somewhere Else, Lucia Jones, Oil and Acrylic on Calico, 150 x 100 cms, 2020

I woke up like this, obviously - Oil and Acrylic on Board, 12 x 12 inches £1050

‘Spectacle’ @irving.gallery runs until 18.1.25 - please contact Irving for all enquiries.

It wasn’t my intention to work with imagery from ‘Aliens’ (1986) and a photograph of Monica Bellucci looking very glamorous, and as though she has just woken up, in one painting. Sometimes these odd combinations occur as it progresses. I had started this as a satirical commentary, one referenced in films such as ‘Bridesmaids’ (2011), that women wake up looking fabulous and perfectly made up. It was also an attempt to hark back to the projection of headspace behind the featured woman in my paintings as I have done in several older works such as ‘Somewhere Else’ (2020).

The combination of the two creates a strange dichotomy in which Ripley has just been awakened from cryo-sleep of 57 years and is sat on a bench with a holographic garden surrounding her (referenced by the blue woods in the corner) whilst Bellucci however has fresh cut flowers. In this instance there isn’t a clear distinction which is ‘real’ in terms of the content of the painting. It’s a looser work, more open to interpretation, a piecing together of disparate sources and an enjoyment of different applications of paint.

#painting #femaleartist #sleepy #contemporaryart #portrait

3 - Sigourney Weaver in Aliens (1986)
4 - @monicabellucciofficiel in Briganti: Amore e Libertà (1994)
5 - Kirsten Wiig in Bridesmaids (2011)
6 - Somewhere Else, Lucia Jones, Oil and Acrylic on Calico, 150 x 100 cms, 2020

Dreamers often lie - Oil and Acrylic on Board, 16 x 12 inches £2300

‘Spectacle’ @irving.gallery runs until 18.1.25 - please contact Irving for all enquiries.

This painting explores the feeling of infatuation as a kind of spectacle—a heightened, theatrical state of being that celebrates the intensity of emotion. Drawing from ‘Romeo and Juliet’ (1597), the quote “dreamers often lie” captures the enchanting, sometimes self-deceptive nature of longing. Infatuation often feels like stepping into a performance, where actions and emotions are amplified, and this work embraces that energy as a positive force rather than a too cynical critique.

The composition draws from a blend of sources, including ‘Värmlänningarna’ (1957), imagination, and the archway from my wedding venue. The arch, reminiscent of a proscenium arch in theatre, frames the subject, suggesting a transition or a moment suspended in time to be observed. It positions the figure as both a participant in and an observer of her own emotional drama, underscoring the performative aspects of infatuation. I used Galkyd painting medium over the sunset shallows pictured through the archway, it lends a photographic gel-like quality, evoking a sense of captured memory or fleeting beauty. Black ‘letterboxes’ that form the void space heighten the cinematic feel within this work, framing the scene as though it were a snapshot from a play or film. Candles, a recurring motif in my practice, symbolise light and hope, reinforcing the celebration of this vibrant and all-consuming state of being.

#painting #femaleartist #shakespeare #contemporaryart

Dreamers often lie - Oil and Acrylic on Board, 16 x 12 inches £2300

‘Spectacle’ @irving.gallery runs until 18.1.25 - please contact Irving for all enquiries.

This painting explores the feeling of infatuation as a kind of spectacle—a heightened, theatrical state of being that celebrates the intensity of emotion. Drawing from ‘Romeo and Juliet’ (1597), the quote “dreamers often lie” captures the enchanting, sometimes self-deceptive nature of longing. Infatuation often feels like stepping into a performance, where actions and emotions are amplified, and this work embraces that energy as a positive force rather than a too cynical critique.

The composition draws from a blend of sources, including ‘Värmlänningarna’ (1957), imagination, and the archway from my wedding venue. The arch, reminiscent of a proscenium arch in theatre, frames the subject, suggesting a transition or a moment suspended in time to be observed. It positions the figure as both a participant in and an observer of her own emotional drama, underscoring the performative aspects of infatuation. I used Galkyd painting medium over the sunset shallows pictured through the archway, it lends a photographic gel-like quality, evoking a sense of captured memory or fleeting beauty. Black ‘letterboxes’ that form the void space heighten the cinematic feel within this work, framing the scene as though it were a snapshot from a play or film. Candles, a recurring motif in my practice, symbolise light and hope, reinforcing the celebration of this vibrant and all-consuming state of being.

#painting #femaleartist #shakespeare #contemporaryart

Although, not either - Oil and Acrylic on Board, 4 x 4 inches £250

‘Spectacle’ @irving.gallery runs until 18.1.25 - please contact Irving for all enquiries.

This painting, another inspired by ‘Dishonored’ (1931), draws on an exchange where Dietrich’s character is confronted by the concierge of her building and told she is destined to meet the same tragic end as another street-walker who has died by suicide. The body is being removed from the building by authorities and she, among the gathering crowd, responds resolutely: “No, I am not. I am not afraid of life... Although I am not afraid of death, either.” Excellent writing aside, the defiance against an allocated, predetermined fate and an unyielding strength in the face of expectation really spoke to me. The exchange, in the wake of a spectacle, speaks of inevitability and refusal to accept what is deemed certain by others. I didn’t feel the need to go further than her face, mouth, to convey the resolute nature of the moment. I often isolate the mouth within my work, it serves as an anchor (in this case for a phrase) and as a means of anonymous expression. The use of a veil in this work, informed by source material, takes the place of a curtain; the transparency a metaphor for her thoughts in this moment.

#painting #femaleartist #film #contemporaryart

Although, not either - Oil and Acrylic on Board, 4 x 4 inches £250

‘Spectacle’ @irving.gallery runs until 18.1.25 - please contact Irving for all enquiries.

This painting, another inspired by ‘Dishonored’ (1931), draws on an exchange where Dietrich’s character is confronted by the concierge of her building and told she is destined to meet the same tragic end as another street-walker who has died by suicide. The body is being removed from the building by authorities and she, among the gathering crowd, responds resolutely: “No, I am not. I am not afraid of life... Although I am not afraid of death, either.” Excellent writing aside, the defiance against an allocated, predetermined fate and an unyielding strength in the face of expectation really spoke to me. The exchange, in the wake of a spectacle, speaks of inevitability and refusal to accept what is deemed certain by others. I didn’t feel the need to go further than her face, mouth, to convey the resolute nature of the moment. I often isolate the mouth within my work, it serves as an anchor (in this case for a phrase) and as a means of anonymous expression. The use of a veil in this work, informed by source material, takes the place of a curtain; the transparency a metaphor for her thoughts in this moment.

#painting #femaleartist #film #contemporaryart

Where we’re going now - Oil and Acrylic on Board, 5 x 7 inches £500

‘Spectacle’ @irving.gallery runs until 18.1.25 - please contact Irving for all enquiries.

The painting references the pivotal moment in ‘Legally Blonde’ (2001) when Elle is not proposed to, but instead dumped by love interest Warner. This moment marks a significant turning point, where Elle chooses to defy the societal expectation laid out for her. The absence of her face in the painting marks the erasure of her identity, echoing the film’s depiction of her scramble to reconcile who she is with the expectations placed upon her. I actually struggled to paint a face that worked in the composition until it became evident that the lack of expression was key in the intention of the painting. The fragmented, disparate planes of paint reflect the disjointed nature of this process and moment, as Elle navigates who she’s been told to be, convinced herself to be, and who she is becoming. These layers of paint mirror the internal layers she must peel back, confronting the discrepancy between idealised femininity and her evolving sense of self.

The title, ‘Where we’re going now’, is from Dakota (2005) by The Stereophonics. I’d been blasting the song quite a lot at the time but it also aligned to with the uncertainty of this moment in the source imagery and painting - an in-between space where Elle is no longer defined by the superficial expectations of others and herself, but has yet to fully step into her new identity. The painting embodies this transition, where the structure of the past is dismantled, and the future is open, undefined, and full of possibility.

@reesewitherspoon

#legallyblonde #painting #contemporaryart #femaleartist

Where we’re going now - Oil and Acrylic on Board, 5 x 7 inches £500

‘Spectacle’ @irving.gallery runs until 18.1.25 - please contact Irving for all enquiries.

The painting references the pivotal moment in ‘Legally Blonde’ (2001) when Elle is not proposed to, but instead dumped by love interest Warner. This moment marks a significant turning point, where Elle chooses to defy the societal expectation laid out for her. The absence of her face in the painting marks the erasure of her identity, echoing the film’s depiction of her scramble to reconcile who she is with the expectations placed upon her. I actually struggled to paint a face that worked in the composition until it became evident that the lack of expression was key in the intention of the painting. The fragmented, disparate planes of paint reflect the disjointed nature of this process and moment, as Elle navigates who she’s been told to be, convinced herself to be, and who she is becoming. These layers of paint mirror the internal layers she must peel back, confronting the discrepancy between idealised femininity and her evolving sense of self.

The title, ‘Where we’re going now’, is from Dakota (2005) by The Stereophonics. I’d been blasting the song quite a lot at the time but it also aligned to with the uncertainty of this moment in the source imagery and painting - an in-between space where Elle is no longer defined by the superficial expectations of others and herself, but has yet to fully step into her new identity. The painting embodies this transition, where the structure of the past is dismantled, and the future is open, undefined, and full of possibility.

@reesewitherspoon

#legallyblonde #painting #contemporaryart #femaleartist

Fake it till you make it - Oil and Acrylic on Board, 5 x 7 inches £500

‘Spectacle’ @irving.gallery runs until 18.1.25 - please contact Irving for all enquiries.

This painting examines identity and performance by blending popular culture with philosophical reflection. Visually, it depicts Peggy Lee performing ‘He’s a Tramp’ (1955), chosen purely for its aesthetic resonance. Conceptually, the work draws from the adage “fake it till you make it,”. In @taylorswift ’s ‘I Can Do It With a Broken Heart’ (2024)—the phrase highlights how performing ‘the spectacle’ can enable achievement even while navigating concealed personal struggles—and Aristotle’s idea of behavioural activation: “acting virtuous to become virtuous.” Together, these influences underscore the strain between authentic and performative identity that the painting seeks to explore.

The disjointed placement of the lips, hovering like a sticker, creates a sense of fragmentation, suggesting expression itself is fractured or constrained. This is echoed in the draped curtain over the figure’s face, acting as both veil and stage, blurring the line between concealment and performance. The separation of space within the composition mirrors the dissonance between internal self and outward projection, emphasising the inherently performative nature of identity. By merging elements of pop culture with enduring philosophical inquiry, the work reflects on the universal challenge of “faking it” to “make it,” ultimately questioning where the boundary lies between action, belief, and becoming.

#painting #taylorswift #ildiwabh #aristotle #femaleartist

Fake it till you make it - Oil and Acrylic on Board, 5 x 7 inches £500

‘Spectacle’ @irving.gallery runs until 18.1.25 - please contact Irving for all enquiries.

This painting examines identity and performance by blending popular culture with philosophical reflection. Visually, it depicts Peggy Lee performing ‘He’s a Tramp’ (1955), chosen purely for its aesthetic resonance. Conceptually, the work draws from the adage “fake it till you make it,”. In @taylorswift ’s ‘I Can Do It With a Broken Heart’ (2024)—the phrase highlights how performing ‘the spectacle’ can enable achievement even while navigating concealed personal struggles—and Aristotle’s idea of behavioural activation: “acting virtuous to become virtuous.” Together, these influences underscore the strain between authentic and performative identity that the painting seeks to explore.

The disjointed placement of the lips, hovering like a sticker, creates a sense of fragmentation, suggesting expression itself is fractured or constrained. This is echoed in the draped curtain over the figure’s face, acting as both veil and stage, blurring the line between concealment and performance. The separation of space within the composition mirrors the dissonance between internal self and outward projection, emphasising the inherently performative nature of identity. By merging elements of pop culture with enduring philosophical inquiry, the work reflects on the universal challenge of “faking it” to “make it,” ultimately questioning where the boundary lies between action, belief, and becoming.

#painting #taylorswift #ildiwabh #aristotle #femaleartist

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