Location: The Foundry Gallery, London
Through Bainbridge’s multidisciplinary approach to printmaking (she uses photographic screen prints, printed directly onto graphite dust with an overlay of drawing and additional screen printing) she challenges our ideas of what constitutes a print. Working from photographs taken just before dawn, where the light is limited and relative calm envelopes London, she then edits her work both digitally and throughout her printmaking process, removing enough detail so that what remains are these beautiful glimpses of stillness in the incessant rhythm of the routine of London.
Each of her prints are made in edition but are all slightly different due to her artistic working process. They are seemingly reminiscent of Whistler’s ‘Nocturnes’ series where he aimed to convey a sense of the beauty and tranquillity of the Thames by night documenting the continuing effects of the industrial revolution on London’s landscape. These were painted in Whistler’s house paradoxically around the corner from The Foundry Gallery in Cheyne Walk, Chelsea, London.
Alongside Bainbridge’s smaller scale prints is a large format site-specific artwork screen printed onto billboard paper and pasted onto a 5 metre long wall in The Foundry Gallery. Only lasting in this configuration for the duration of FERMATA, the nature of this ‘panelled billboard’ print means that further editions can be installed in any arrangement, essentially becoming part of the very nature of any building in which it is shown.
Within this body of work Lucy Bainbridge has successfully paused the enduring rhythm of the city in her prints of the vague yet familiar silhouettes of London. A fermata occurs, and we have the opportunity to linger on a moment of stillness, to consider the ephemeral landscape right in front of us before it transforms again.
Image credit: Lucy Bainbridge