Art by Lucille Martin

Current Writings & Press

Lucille Martin – Beyond Bling

Reconstruction- The Genesis of Available Evidence

In Reconstruction – The genesis of available evidence, the most recent body of work from Lucille Martin, she interrogates further an impressive artistic practice that has breathed and pulsed with energy since her first exhibition in Australia twenty years ago.

Identified as a textile artist, Martin works ruthlessly as a bricoleur. She scours sources, whether pages of text or second hand shops, reworking what have been hatched. This then evolves as ideas and new objects, probing the mediums of art and craft en route.

Martin’s skilled craft making, once grounded within the art work’s surface, is synthesised through the sculptural making process. By manipulating the traditional practices of sewing and monogramming, she provokes new contexts, positioning objects with modern technology and the polemic of contemporary language. It is a process that works as metaphor for the layering within the natural and spiritual order, one disrupted by a global diet of consumption and consumerism. Excerpt © 2010 Courtney Kidd

THE

LED ZEPPELIN

WORLD TOUR

EXHIBITION

THE LED ZEPPELIN WORLD TOUR EXHIBITION

LISMORE REGIONAL GALLERY Curator Steven Alderton

TOURING INTERNATIONALLY

WWW.LISMOREGALLERY.ORG

ARTISTS

TED HARVEY

ADAM CULLEN

BEN QUILTY

GEOFF HARVEY

LUCILLE MARTIN

CRAIG WADDELL

JANICE RAYNOR

REG MOMBASSA

Lucille Martin

^{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 70’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 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."

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