Lucie McLaughlin is an artist and writer from Belfast
CCA Derry~Londonderry Research Associate 2022-2023
2020-2022 MLitt Art Writing, Glasgow School of Art
2017 BA(Hons) Fine Art, Central Saint Martins
luciejmclaughlin [at] gmail.com
It's A Material World, Writing About Art, 2021
The publication, which includes a collectively written Note to the reader, features writing about visual art, films and objects experienced online by GSA MLitt Art Writing students Alex Bottomley, Misa Brzezicki, Donald Butler, Rachel Harris-Huffman, Enxhi Mandija, Jen Martin, Lucie Mclaughlin, Caitlin Merrett King, Siuán Ní Dhochartaigh, Sara O’Brien, Molly O’Leary, Clara Raillard, Ben Redhead, Megan Rudden, Rodrigo Vaiapraia and Morgan Williams.
From the Note to the reader: ‘Manifest as half of a shared conversation, writing moves its materials, whilst its interlocutor—sources—are cast in pixelated catalyst, nebulous memory. Climb inside, through the arm holes of a couple of warm coats, chewing on quotes.’
It's A Material World: Writing About Art is an edition of 100, risograph printed at Sunday's, Glasgow, and funded by the Glasgow School of Art Student's Association.
To order your free copy, visit: https://itsamaterialworld.cargo.site/ and click enter your name and address for a free copy. Or, pick one up in Glasgow from Good Press.
Imagination is a Radical Tool: Hatty Nestor Interviewed by Lucie McLaughlin, BOMB Magazine, 2021
A conversation around the ethical and political considerations of carrying out interviews, research methodologies and how the book confronts the negative space of representation: the experiences of those who are denied visibility, imagery and documentation.
Building Tingling, collaborative presentation with Misa Brzezicki at Proxyerotics symposium programmed and hosted by Donna Marcus, Hattie Morrison, and Kate Morgan, Royal College of Art MA Writing, online, 2021
'The proxyerotics symposium brings together student peers from a group of international art institutions, as well as invited artists, who all work with writing as part of their practices, to consider the theme of this year's ARC magazine: proxyerotics.'
And, if we observe the present, exhibition essay, Catalyst Arts and Belfast Photo Festival, with live reading and Q+A at online event hosted by Belfast Photo Festival.
Pamphlet, also featuring the work of Taiye Ojo and Harvey Dimond, is available by contacting Catalyst Arts, Belfast and for sale in Good Press, Glasgow, 2021
The text, edited by Manuela Moser and Tara McGinn, responded to works featured in the exhibition by Kate McElroy (pictured) Kitsch Doom, Dónal Talbot and Ben Malcolmson.
Suppose A Collapse, JOAN publishing, 2021
You can order the book here on the JOAN website. There is also a special edition available of the book + 3 x hand-coloured A4 prints (edition of 15, signed and numbered).
Suppose A Collapse arranges moments between two cities, each viewed through the lens of the other, intimately mapping the interiors of a fourth floor flat in Madrid and the childhood bedroom of a three-bed semi in Belfast. Memoir, poem and essay combine to form a collection of experiences based on the author’s changing relationship with her absent father, extended ‘(non)family’ and mother, while film and art inform the movement between lucidity and a fracturing present. How many times can we fold up our lives into smaller and smaller shapes until there’s no room anymore, only the one that we’re in?
JOAN is a new publishing project supporting feminist and queer voices–explored through interdisciplinary artists’ writing. A short video will be available to watch from 7pm on Thursday 6th May on the JOAN website as part of the book's launch. You can also listen to two sound works, Fizzy Things and Sound of the Underground.
Clickety-Clack - Part 1
Audio, 7 minutes 31 seconds
Clickety-Clack - Part 2
Audio, 3 minutes 55 seconds
Clickety-Clack - Part 3
Audio, 9 minutes 12 seconds URGENCIES, Centre for Contemporary Art Derry~Londonderry, 2021
'Clickety-Clack is a triptych of experimental sound work, a mix of field recording and constructed narrative sequences that include the sounds of a printer dancing, music leaked through walls, the quiet rabble of voices outside a pub and the purr of a washing machine. Aiming to build connections between the disparate places where words inhabit artwork and art inhabits words, Lucie navigates between moving/still image, performance, writing and sound and uses ‘autobiographical’ or abstracted anecdotal moments in order to question the essence of performative text and to write from ‘hard places’ such as mental ill health.'
URGENCIES (2021) is presented offsite across Derry~Londonderry and was selected by artist Locky Morris and CCA Director Catherine Hemelryk.
The Bell sounds heavy and fast is a response to Lucie McLaughlin’s three-part sound piece Clickety-Clack. In the form of a poem it engages with the process of listening to sounds often disembodied, distant and indistinct. Developing a relationship-in-sound with Clickety-Clack’s narrator and cast of supporting devices, the work smuggles meanings onto the page. It asks about our emotional relationship to objects, and the mistreatment we subject them to in the service of our obsession with meaning and metaphor.
Clickety-Clack was featured on Fermywoods podcast
'River Gloaming' from Clickety-Clack was featured in Clouds and Tracks Audio Circular 1
Thirstiness, (Essay) SPAM Plaza, 2021
From the introduction by editor Kirsty Dunlop 'Reflecting [website and gallery space] Seiren's navigating structure, the essay unravels its connections through a rhizomatic form, via Anne Carson, Gossip Girl, Otessa Moshfegh, Maria Fusco, Polly Pockets, Lisa Robertson, and more, merging visual artwork with words.'
Everything Rests on a Tablecloth With Lemons, (Text + Videos with Sound) Exploding Appendix, 2021
"a scene in which ceaseless attempts to posit the self in time, when time has seemingly ground to a halt, sees discrete references and recollections threaten to overwhelm the subject. Proclamations, demands and new formal frameworks are one thing, but what of our immediate experience as individuals... when we find ourselves alone in a room where revolution in its secondary sense... seems to have become a distant and alien concept? In exploring the phenomenal aspects of time and space and their affects upon both the creative and critical process, Everything Rests On A Tablecloth with Lemons blurs the line between diary, essay and poetry." (from the introduction to the dossier, edited by Bradley Tuck and Max McNally)
Sol'em-nit-e, Audio, 5mins 12 secs, Lucie McLaughlin and Chris Penty
Sol'em-nit-e is a poem and sound space, created using recordings in both public and private places. Drips and drops from the boiler or kitchen meet the intermittent tuning of church organs to display a writing in sound which unravels throughout the breathy prose of a mind wandering. The thoughts heard here are at once intimate and also empty, the air whispering from sites where we meet, collectively, but are often alone.
Broadcast as part of Radiophrenia, November 2020. Radiophrenia is a temporary art radio station – a two-week exploration into current trends in sound and transmission arts. Broadcasting live from Glasgow’s Centre for Contemporary Arts, the station aims to promote radio as an art form.
Reading, East London Cable poetry session, Raven Row, London, 2019
'This new work by Lucie McLaughlin traces the outline of a day, where moments are arranged, ungraduated (and sometimes unreal) as they close down physical spaces. Punctums of dialect from the artist's native Belfast remind how words can break, re-position and be repaired, depending on the site we see them from. Here, Belfast is viewed from a great distance and through the lens of relentless Madrid sunshine, where lingering sensations of horror and unease are felt.'
Bonfire, HD Video with sound, 9 minutes 40 seconds, with music composed by Arthuritis. 2019
Screened at Killing Stillness, SET, Dalston (alongside works by Miriam Kilpatrick, Chris Penty, Buster and Josh Grey-Jung)
The sound is the next feeling.
The Kink in The Arc is a collective, dream novel. Invited writers, artists and curators contribute a description of an artwork in any form, these descriptions are then ‘sited’ within the context of the novel. You can read my contribution here 2019
The light is failing slightly, dimming, becoming more cool (the white of the duvet looks blue.) As the light fails, a tableaux appears on the wall opposite. In silhouette: the window's edge, it's handle out-turned to the air. The lamp's half moon head, metal pronged bedstead, balustrade's end. A frame, the frame of these four things, perfectly flat, to make a feeling. Enacting the slowness of the abstract.
Quietest, (essay/poetry) Faultline Journal of Arts and Letters, University of California, Irvine, 2018. Digital reading, Stories Books and Cafes, Los Angeles, 2018
The blue strip of fabric; diaphanous, hung on two nails, the curtain that hovers next to the bed. It’s threadbare countenance washes the room in oceanic glow. There are many nights facing this same colour, coming in floods repeated in each stanza, stood there, burrowing into the neck of the poem and quietly soaking or outside the house the low stone wall is gasping for air.
a dark place is not a dark place, reading, Sylvia Plath: Letters, Words and Fragments conference, 2017
Slime, poetry, AQNB, 2017
snakes velvet legs too bright go to bed state sponsored accidents in the dark - crippled sheets little birds and leaves the sun the rising moon - sperm - stiff limbs blazing sick her claws sagely counsel big curls of soggy bacon the welt of the pool
Bad Ideas, edited by Lucie McLaughlin, 2017, includes image and text work by sixteen artists based between London, Paris and Belfast.
shivers of disconsolate fear // from my elbows to my wrists in twitches // which shift the leopard print spots // of my long sleeved vest
their eyes are glass and face a flush intoxicated mess // of smudged holes and short brown hairs // mottled paint with stains and grease marks // where the primer didn't do it's job // it's hard to keep our glowering round this garden bend // since amidst the mauve-ish glow // there are moving manmade stars of bright pink // and cobalt blue that sail across the window blinds // of the party house inside
Lick, 2017, artist book, 14 x 20 cm, perfect bound, edition of 50
Describe your image
Sound and performance project; apparatus for live performance, installation plan, 10 track compact disc, documentation of a performance in Lily Robert Gallery, Paris. Also performed at Nottingham New Theatre and Central Saint Martins, London.
Fragments of improvised tonic chords and noise connect a shared poetics where the auditory capital is rooted in the process of DIY recording, recognising and reinterpreting, in a contemporary setting, the input by female identifying artists to sound based installation, which is often overlooked. "duo Lucie McLaughlin and Eleanor Strong can be found performing tracks from their debut album Sad Party. They have assembled a space, a re-presentation of their bedroom-studio, informal but complete with keyboards and microphones all set up for the two to play and work throughout the show’s duration. The duo connect a low-fi, actively non-professional, performance with honest and expressive voices."
Sad Party, 2017
Lucie McLaughlin and Eleanor Strong
'are you hearing the weird sounds?' In the kitchen at night, the windows open skywards on their lofty incline.
she tries to regain her breath, HD video with sound, 6 minutes, 2017
with guitar and voice by Eleanor Strong