Lucy McLauchlan is recognised for large-scale monochrome paintings. A great regard for nature is implicit in her work, as she takes inspiration from her immediate environment, allowing it to guide and lead what is an instinctive and exploratory process (Lucy McLauchlan, n.d). McLauchlan frequently refers to nature and the natural marks seen in our surroundings (Mapp, 2020). Her research focuses on the modern clash of industry, nature, and technology. McLauchlan's technique is mirrored in her use of permanent materials, such as Indian ink and marker pen, in today’s world where visual pictures are processed to perfection using technology. Her works contain her one-take attitude, as a mistake cannot be modified, but unintended and accidental touches become part of the work. These are her favourite parts. Identifiable figures and freeform organic themes, primarily faces and birds, are leitmotifs in her work. Its characters interact with one another and with the viewer in order to expose the more sophisticated inner workings of each character's subconscious. She paints with little or no preparation, relying on her instincts to smother areas with paint, resulting in chaotic yet alluring landscapes (Gallard, 2014).
Two short films from McLauchlan - New Zealand 2017 and Moscow Biennale 2018 - immensely inspire me. Every single touch recalls parts of nature; waterfall, barks, rocks, and leaves. Her touch brush is bold but detailed and spontaneously made. The films alternatively show her drawing, and scenery of nature, which fit into two scenes. If my practice can recall a certain thing to viewers unintentionally or intentionally, I believe that it could also decorate the finale of work.
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