Click on thumbnails below for full details and enlarged images.
BECOMING MORE LIKE 77x56cm
REVERENCE THREE COLOURS BLUE
GETTING WET 38x56cm
MOUND OF SHOES 90x120cm
CIRCLES OVER CITYSCAPE 122 x 158cm
INVITATION TO SUPPER SERIES DREAMING OF CARAVAGGIO 114x95cm
INVITATION TO SUPPER 71x90cm
INVITATION TO LUNCH SERIES 90x120cm
LONDON JUNGLE OF EROS 120x150cm
LITTLE CHAIR 36x26cm
CHAIR WITH LOVE CUSHION 89x 59 inches
CHAIR WITH ZEBRA MANIA CUSHION 201x150cm
WINDOW WITH LITTLE FAIRIES 152x122cm
NELSON'S COAT II
LADY EMMA HAMILTON SLEEPS IN NAVAL
LORD NELSON'S COAT III 'Performing Song for Unification of Europe'
SAIL AWAY WITH ME
CHIT CHATTING WITH VENUS 81x100cm
EMMA HAMILTON RESURRECTS HORATIO 107x81cm
CHRONICLES OF ELIZA ROSE 1.STOWAWAY
CHRONICLES OF ELIZA ROSE 2. STORM
CHRONICLES OF ELIZA ROSE 3. SHIPWRECKED
CHRONICLES OF ELIZA ROSE 4. LOST
CHRONICLES OF ELIZA ROSE 5.FOUND
CHRONICLES OF ELIZA ROSE 6. FAMILY
CHRONICLES OF ELIZA ROSE 7. WHISPERING
CHRONICLES OF ELIZA ROSE 8.Gt.Gt.Gt.Gt. Grandmother
STUDY FOR LONDON JUNGLE OF EROS 70x100cm
A SHORT STORY ABOUT LOVE VII
A SHORT STORY ABOUT LOVE VIII
DOCK ROAD LONDON 120x140 cm
INSTALLATION PRIVATE VIEW
LOOKING FOR THE BLUE LAGOON
STUDY FOR INVITATION TO SUPPER
GALLERY IMAGE LUCY ORCHARD - ARCHIVE
ORCHARD ARCHIVE COLLECTIONÂ
MA Fine Art The Cumbria Institute
MA Fine Art
LUCY ORCHARD LIVES AND WORKS IN LONDON
The Chronicles of Eliza Rowles*
Into the Woods
+ Supper Series
+ Conversation with Caravaggio
and other series of works.
Lucy Orchard 'The Chronicles of Eliza Rowles' A Series
of Prints and Engravings.
Rowles (nee Morgan) was born in 1781, into a family of Mariners from
Although she fought with her family for the opportunity to be able to sail on the
ships as did her brothers, father and grandfather, all of whom were Master
Mariners, she was encouraged to become a dressmaker like her mother.
In 1801 she married my great, great, great, great grandfather, Caleb Rowles,
who came from another local family of Master Mariners. The Rowles owned
several square-rigged ships renowned for their endurance, and were well known
for importing Curry Spices from India, and a Chilean strain of strawberry that
led to the hybridisation of the modern day strawberry.
Eliza hated every minute of dressmaking, and having to stay at home whilst her
beloved Caleb went on trips to exotic parts of the world.
On 12th June 1803 Caleb set sail for Chile from Sharpness Docks, along with 9
crew members. All were unaware the ship was hiding a stowaway, until 2 days
into the Sail when Eliza decided to announce her presence.
According to the Captains Log, there was nervousness amongst the crew that
there was a female on board, and they refused to eat any food that Eliza had prepared.
One day, several weeks into the sail, as they were travelling down past Africa,
a great storm blew up and the Valiant was badly battered. Three of the crew
members were lost overboard during the storm, and Eliza was lost too.
Caleb stayed in Cape Town for 3 weeks trying to find any trace of Eliza. Two
bodies of the crew were found, but there was no trace of what may have happened
Caleb returned to Britain and never sailed again, but continued working in the
However, in 1809 RMS Saxon was on its return journey from Cape Town to East
London. One of the passengers was Eliza Rowles. Eliza was eventually reunited
with Caleb and the rest of her family in Gloucestershire.
Only recently has the true extent of Eliza's efforts in Africa has been
realised. She had lived alone in the wilds for 2 years, and survived by eating
roots, seeds, native fruits and plants. Whilst she was there she had apparently
encountered a herd of zebras, all of whom were sick. Eliza earns the trust of
the zebras and fed them on Red Disa, a member plant that is native to Africa,
the roots of which are rich in protein. It is now widely accepted that Eliza
may well have contributed to the saving of the type of Zebra called The Cape
Mountain Zebra from extinction. Lucy Orchard (Copyright Lucy Orchard)
Last Supper Series showcases paintings that explore, analyse and depict food as
never before. In this exhibition historical facts related to food such as the
Great Fire of London, old fashion recipe books, current issues such as allergy
and food intolerance as well as cannibalism combined with stylistics references
toCaravaggio, Spanish & Dutch Still Life as well as 20th Century artists
such as Patrick Caulfield give us a true visual feast.
In her work the artist questions and offers insight into what it means to have
no option but to experience food from an altogether different perspective. She
is inspired by those who have been unable to make choices (including herself)
about one of the most basic prerequisites for sustaining life, and for whom the
pleasure and enjoyment of eating has been removed and whose experience becomes
little more than a necessity dictated by an innate survival instinct.
Consequently, hiding around the corner to that which appears as seductive and
in abundance is a darker, more sinister side. Whether confronted with black
humour or humbling observation, the ability to put a piece of bread in our
mouths, without wondering, becomes questionable. Take for instance Farrynor's a
painting depicting bread and oven baked delicacies portrayed in Dutch Still
Life style. It is inspired by The Great Fire of London (Farrynor was the baker
of Pudding Lane) but the artist's interest here is not Pudding Lane itself but
the Golden Boy of Pye Corner in Smithfield's, a monument that marks the spot
where the fire stopped and whose inscription somehow indicates that the Fire
was evidence of God's Wrath on the City of London for the sin of gluttony.
Mirage, another painting on show, inspired by In Memory's Kitchen - a recipe
book based on the Nazi's 'model' ghetto Theresienstadt where people would
fantasize about food. Called cooking with the mouth the prisoners,
undernourished, even starved, not only reminisced about favourite foods but
also had discussions, even arguments, about the correct way to prepare dishes.
To recall food in such desperate circumstances must have helped reinforce a
sense of self and to assist in a struggle to preserve life says Lucy Orchard
and assures that the painting is not intended to reflect the horror of living
with the constant fear of death, but is rather about a desire for food that
could only have ever existed in their thoughts, about how memories remain
distant, sometimes distorted. In her composition, ingredients compiled from the
book are translated into modern day ingredients such as Black & Green's
dark chocolate bars.
is a tendency here to lead you up the garden path, (with a tempting invitation
to supper), then shutting the gate. Climb over at your peril.
Re. Lucy Orchardtitle 'Three Colours Blue, Reverence' Â
Three Colours Blue is a
1993 French drama film directed and co-written by Polish filmmaker Krzysztof
KieÅ›lowski. Blue is the first of three films that comprise the Three Colours
trilogy, themed on the French Revolutionary ideals of liberty, equality, and
fraternity; it is followed by White and Red. According to KieÅ›lowski, the
subject of the film is liberty, specifically emotional liberty, rather than its
social or political meaning.Â
Painting Title: 'Icarus' The son of Daedalus, who escaped from Crete using wings made by his father but was killed when he flew too near the sun and the wax attaching his wings melted.