SELECTED TEXTILE WORKS (VARIOUS)
1. Collateral Damage -1994
1. Collateral Damage -1994
1. Collateral Damage (detail)
1. Collateral Damage (detail) 1994
2. Womens Tears
Womens Tears
2. Womens Tears (detail)
2. Womens Tears detail
3. Truth and Lies
3. Truth and Lies
3. Truth and Lies (detail)
3. Truth and Lies (detail)
4. Buy it now 2009
4. Buy it now 2009
5. True Blue
5. True Blue
6. Happy Birthday, UnHappy Birthday
6. Happy Birthday, UnHappy Birthday
6. Happy Birthday, UnHappy Birthday (detail)
6. Happy Birthday, UnHappy Birthday (detail)
7. Inside the words of Stairway to Heaven
Inside the Words of Stairway to Heaven - 2007 - Textile, hand and machine embroidered bird, Thread.
8. Naturally Selected
Conference
9. Hanging by a Thread
10. The last stand
11. Bird 2023
1. Collateral Damage (1994)
Exhibited: 2014, Border Art Prize
Gallery: Tweed River Art Gallery/Gold Coast Art Gallery
1st PrizeWinner
Collateral Damage, a bold and brave work by Australian Artist Lucille Martin, took the major prize of $3,000. Using embroidery on Cloth, Lucille’s work is “ elegantly simple with a wonderful interplay between light and dark” and asks the viewer questions aboutpeace and the use of warfare during the Gulf war . The Border Art Prize at heldBiannually at The Tweed River Art Gallery, NSW and The Gold Coast Art Gallery, opened to a huge crowd of art lovers, artists, and friends on Friday evening.Three of our region’s most interesting artists were “ stunned and “ over the moon” when named as the winners of the three main prizes.
2. Women’s’ Tears (2006)
Exhibited: 2006, Chrysalis, Lismore Regional Gallery, Lismore, NSW
Curator: Steven Alderton/ Kezia Geddes
Women’s Tears was created after Lucille’s recent trip to Bali working with Javanese and Balinese Women on embroidery and textile works. As they sat in her Seminyak studio residency working and hearing they described the tragic events of the Timor War. The work describes the massacres of women in Dili, Timor. Lucille used her favoured monogram technique and her signature long strands of thread to depict the hair of the women killed. This piece was curated by Steven Alderton and Kezia Geddes of Lismore Regional Gallery in theChrysalis Exhibition. The Exhibition was a 6 month program working with selected artists from The Northern Rivers Region and mentors from Sydney, Brisbane and Melbourne’s premier galleries.
Exhibited: 2006, Prometheus Art Prize, All Saints Gallery, All Saints, Meriton
Highly Commended
Julie Ewington was theJudge for this award and gave Lucille Martin a commendation for the “simple yet highly emotional work using work and thread.”
3. Truth and Lies (2007)
Exhibited: 2007, Piece Gallery, Mullumbimby, NSW
Curator: Christine Wilcock
Christine Wilcock selected this work from Lucille’s signaturethread pieces. Each word and strand shared Lucille’s interpretation of lossafter she miscarried her second baby. The strands sewn into the words onher dress fell onto a circular glass mirror sitting directly under the dress.
4. Buy it now (2009)
Exhibited: 2009, SOFA Sculpture, Object andFunctional Art Fair, Armory Gallery, New York View Catalogue
5. True Blue (2012)
Exhibited: 2012, Blue, Object Gallery, Sydney
True Blue was inspired by political action and inaction taken by the Labor Party and current leader,Kevin Rudd. “ Was he True Blue or Blue after the inablility to take action onClimate Change”
6. Happy Birthday, Unhappy Birthday (2015)
Exhibited: 2015, Artsource, Fremantle
Happy Birthday, Unhappy Birthday is a work inspired by the popular commercial Birthday Banner. Lucille is often a conduit for change offer the place of Art, Art work and material as a point of discourse between the public and the collective voice.Does society force us to be ‘Happy’? Happy Birthday, Happy Anniversary, Happy Easter, Happy Christmas, Happy New Year? What does it feel like to just be something else?
7. Inside the Words of Stairway to Heaven (2007)
Exhibited: 2007 – 2009 The Led Zeppelin World Tour Exhibition. Curator: Steven Alderton, Director: Lismore Regional Gallery, NSW. Touring Australia
To Lucille Martin music was a balance to her conservative education in a Catholic Ladies College. Her introduction to the music of Led Zeppelin was a heady mix of passion and rock; stirring the hormones. “I rocked and sometimes rolled along to ‘Whole Lotta love’ in the 80’s as a point of rebellion while studying for my HSC.
“In the years that followed, growing up on the coastal city of Perth. Western Australia, my girlfriends and I would meet the guys from the neighbouring colleges driving around in their noisy VW’s (Voxwagon Stationwagons) from suburb to suburb coasting for waves. We were apprentice surfie chicks. Crammed eight to a car, girls sitting on the boys laps, arms slung around each others shoulders, a ‘Stairway to Heaven’ cassette tape blaring out from every window, all of us singing our lungs out.” said Lucille.
“We all knew the words were a promise to our future. We had been liberated from the generation of the 60’s , no wars to fight, just the expansion of freedom and a whole lifetime ahead of us. Those two songs were the only ones I knew, but Led Zeppelin, were poets to us, musical fortune tellers, experimenting with life and sharing their wisdom.”
Lucille’s artwork simply honours the words to ‘Stairway to Heaven’, and explores Plant & Page’s communion with nature. She is most concerned with how to support nature whilst we grapple with Climate Change. ‘Stairway to Heaven’ was the definitive cycle of birth, life and death – all things to all people, a lot like the Band. Why? Because, ‘it makes me wonder.’
Related Media
Exhibition Catalogue, The Led Zeppelin World Tour Exhibition, 2007 – 09
8. Naturally Selected
Year: 2007, 2008, 2009 – 2011
Medium
Textile, Wood, Found Object, Image
Exhibited
2009 – 2011, Momentum: 18th Textile Biennale. Curator : Valerie Kirk
2009, SOFA – Sculpture, Object, Functional Art Fair: The Armory, New York City, USA
2008, Naturally Selected, Solo Exhibition, Lismore Regional Gallery, Lismore NSW
Naturally Selected, responds to global consumerism and over consumption at the expense of nature. Lucille’s use of discarded textiles and wooden ornaments alongside computer embroidered representations of birdlife and nature, explore issues relating to the plundering of natural resources.
View Exhibition
9. Hanging By a Thread (2020)
The works in ‘Hanging by a Thread’ Exhibition 2020, at Holmes a Court Gallery, West Perth, share the turbulence and changes experienced during CoVid19. Lucille’s evocative and surreal landscape images of Tasmania, NSW and Western Australia are layered and developed with found commercial materials collected from discarded commercial printing company and are part of an ongoing series referring to historical sewing techniques like pattern cutting and smocking. Smocking is a symbolic reference to what was practical for garments to be both form-fitting and flexible, hence its name derives from smock a farmer’s work shirt.
Vanishing: once enchanting: achingly beautiful homes to millions of species: rich carbon sinks: lungs of the planet: symbols of our unconscious since forever: beyond critically endangered keys to life on Earth – forests.
The invaluable role that forests play in the Earth’s vital ecosystems is beyond question. Forests need defending like our lives depend on them.
Timed in the immediate lead up to the state election, this exhibition focuses on Victoria’s critically endangered forests, honours the communities protecting them and invites new defenders.
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View Exhibition
