Lucinda Clutterbuck
Portfolio
1977–1978
Life drawing classes.
Both my parents were good artists. Both had studied drawing and painting although neither of them were professionals. I was usually given art materials for my birthday and at 17 I wanted to leave school and enroll in Art School but instead I finished my HSC: Higher School Certificate, and did life drawing classes at night at the East Sydney Technical College. At home I spent most of my time drawing.
Pastels, and mentors
I have had many mentors in my life. My aunt was married to the Slovenian artist Stanislav Rapotec. He lived with us and gave me a box of pastels and helped me learn how to use them. He was an abstract expressionist and
was an influence in my life at that time.
1978-1979
Silk screen printing & lithography
In 1978 I left home to live with my sister in the city so I could do more art classes at the East Sydney and Randwick Technical colleges. I started visiting my art teachers’ studios and they started to teach me. I neglected my other subjects and concentrated more and more on visual arts.
My teachers were practicing artists and I was invited to do lithography by my print making teacher. I used a zinc plate. I chose the sketch I had done of Sarah in pastels to make a lithograph. At that time I was doing my HSC,
doing night classes, and doing print making at my teachers studio.
Art express
My major work was chosen for Art Express: a selection of H.S.C. Major works for display made by the Senior Coordinator of Education Programs. Each year’s selection is made from the work of approximately 50–60 students who have gained an outstanding mark for their body
of work in the Higher School Certificate examination process.
Preparing for les beaux arts de Orleans
I was accepted into the Alexander Mackie College of Fine Arts which is now called COFA. I decided to defer and I went to France instead. As the school
year is different there I had several months to prepare for the entrance exams called “concours”. I spent time drawing and preparing a portfolio. I enrolled in the entrance exams for Les Beaux Arts de Strasbourg and Orleans. I was accepted into both.
1979-1980
At les beaux arts de Orleans
I chose to stay in Orleans and due to my prior learning I was accepted into the second year or “Poste Probatoire”. This was difficult for me because the formal style of teaching in France differed from the way I had been taught in Australia and I had quite a few problems adjusting. At the end of the course I was advised by my teachers to go to Paris. So I enrolled in the “concour” for Les Beaux Arts de Paris.
les Beaux arts de Paris
In Paris I was accepted into L’Atelier de Gravure but I struggled with the formal nature of Buren engraving. I was also experiencing language difficulties in my Art History and Anatomy classes. I disliked the rigour of
engraving and preferred dry point.I mixed techniques and was soon
at logger heads with my teacher. The engraving above using dry point
techniques was not appreciated by the teacher who thought I was undisciplined.
1979-1981
I transferred into L’ Atelier de Lithographie and learned traditional lithography on lime stone blocks. I found art school very difficult as I was used to a different style of teaching and I began to loose confidence in my abilities. I returned to Australia in the August holidays 1981 and did not return to France for several years.
1981-1983
When I returned to Australia I worked as an assistant animator for Hannah Barbara, I planned to make my own films and in 1983 I joined forces with my friends the Machinations to make the animated video clip for their song Pressure Sway. I also designed the record cover and I started working as an independent artist and film maker.
1984
I continued to make animation and films which attempted to mix live action with moving images. I was working in a hybrid form which I sometimes called documation. I made a film clip for the Sydney Band Flotsam Jetsam and continued to make music video for Australian TV shows such as Rage and Night Moves.
1988
Exhibition of works on paper with Victoria Clutterbuck
Studio Altenburg in Braidwood N.S.W. is recognized as a gallery that presents an eclectic range of solo and group exhibitions regularly throughout the year for both established and emerging Australian artists in the fine arts.
In 1988 my sister Victoria and I had a group show. I started to sell
my work.This is a pastel drawing of my mother’s garden.
1996
The art space Adelaide festival centre exhibition The original artwork for The Web: a series of 13 x 5 minute animated films on endangered
species. Associated workshop sessions with the artist, booked
out within one day. The films were screened on ABC and
Produced by Eco Productions in association with Film Victoria, the
AF C, the Australian Children’s Television Foundation, NSW Film
and TV Office and AB C TV.
1996
AB C ultimo building the web The Australian Broadcasting Corporation, commonly referred to as “the ABC” is Australia’s national public broadcaster. The corporation provides television, radio, online and mobile services throughout Australia. It was a major investor of “The Web” and we exhibited the original framed artworks in the foyer. This is the Ultimo ABC building in
Sydney.
Sydney.
1997
Beaumaris community arts centre From 1983 to 2000 I concentrated on making films and animation. In between film projects I always come back to drawing. In 1996 I spent three years drawing and painting at the Beaumaris Art Group in Victoria. The Art Group had attracted a group of exceptional
practicing artists as teachers including Sue Stamp and Pam Hallandal I exhibited works on paper at group exhibitions at this time.
I started to collaborate with Susan Stamp as she wanted to become an animator and I was moving back into drawing. She formed a drawing group and she encouraged us to draw objects which were familiar to me. I started
to draw my toys and notably my hand puppet Smith.
1998
TASMANIAN TIGER: THE MYSTERY OF THE THYLACINE
An animation cell from TIGA was included in a 3 year touring exhibition by the Tasmanian Museum and Art Gallery.
My art has become intertwined with my animation work and my film Tiga continues to be included in exhibitions and festivals. It was this film which attracted the interest of Bernard Bories and Dominique Deluze in France.
1999
Australian print workshop Impressions: A portfolio of 72 prints by 72 artists.
Having rekindled my desire to draw and print I started going to the Australian Print workshop where there were access presses. My work was influenced by my training in lithography but also by my animation. This strange combination resulted in a series of mono prints which have an aesthetic similar to a lithograph but each print is different, giving the
prints an ephemeral quality.
My time at the Australian print workshop coincided with an
exhibition called Impressions. All the members and access printers were invited to exhibit a print. The exhibition was bought by the National Gallery of Australia.
Millennium Mandala.
2000
FORTY YEARS OF FRIENDSHIP: ST TROPEZ FRANCE
NORTH NEWTOWN PUBLIC SCHOOL ART EXHIBITION.
I have maintained my connection to France and I have developed a working relationship with Bernard Bories from Cinema des
Antipodes. In 2000 he invited me and my friend Pierre Estable to exhibit at his festival in St Tropez. We exhibited works which represented our 20 year friendship as we met in Orleans in 1979 and both turned 40 in September
2000.
2001
Having spent three years at Beaumarris Art group and one year at the Australian print workshop, I had effectively put myself through
art school again. I was back living in Sydney after 10 years in Melbourne.
I had reestablished my confidence in art and was ready to exhibit.
I started to sell work at local exhibitions…
2003
Oil painting at Willoughby Worksh op Arts Centre
Personal work I started working with computerised animation and made my first digital film around 2000. As always after a film project I went back
to basics and started learning how to use oil paint. I adopted Sue Stamps process of drawing what was familiar to me. I painted my grandmother’s shoes. I was developing a style of portraiture through still life in a move away from expressionism towards symbolism.
2004
I have always tried to keep exhibiting and working even when I have
been working as a film director and animator.
2005
A cup of tea and a biscuit” Studio show
For the first time I opened my studio to the public and showed and sold my work. I exhibited a wide variety of work from early pastels to oil painting and print making. The show was a success and I sold 13 works over the two day show.
Artists Against Sedition Laws Exhibition.
Conceived as a gathering of multifarious and un-curated art objects and performances, asserting artists’ (and everyone’s) rights to freedom of speech, the exhibition demonstrated the capacity for contemporary art spaces to respond quickly and decisively to the shifting political landscape. I
exhibited a large oil painting.
Who the Hell is John Howard?
2006
Variety is the Spice of Life at Studio Altenburg. This was my second show with my sister Victoria at Studio Altenburg.
We called the show “Variety is the spice of life” Both of us have a varied practice and we wanted the work to be playful and not too serious. We also
exhibited two paintings by our mother who has been my mentor.
In this show I indulged my love of cats and horses.
2007
“Smith is coming out” Studio show
My work with my hand puppet Smith had been gradually developing and in 2005 I worked with Gwenaelle Levasseur to organise an studio show based on my painting and prints of Smith. We also launched my website and sold Smith tee shirts, posters and catalogues. The show was a success and we sold 16 works.
2007
Smith is coming out” Dungog CatBird Gallery
“Smith at Gallery East”
Dungog film festival invited me to put on a show at the inaugural
Dungog Film Festival. I continue to collaborate with cinema industry
as my art work is often linked to my film work. I took the Smith
studio show to Catbird Gallery where I was able to sell more
works. We combined the exhibition publicity with the film festival
and I did some radio.
In December 2007 I put on a“Smith” show at Gallery East.
I painted a wall of paintings of identical size and made tee shirts
and “prototypes”. I hung “Who the Hell is John Howard?” in the
window and it was at that time I noticed that children would stop
outside and read the texts. Their favourite was “ One day I woke up and I was angry”.
2008
ODIWUAIWA Ortago Polytech nic Ne w Zealand
The dog sh ow artroom5 Adel aide. At the Dun Eden Polytechnic,
in collaboration with Christine Keller, the head of textiles, we
started to link my Smith work thematically to my animation. We
printed tee shirts and I made a short film with a group of 6 artists
called “One day I woke up and I was angry”. At that time I
also started to collaborate with La Menagerie and I planned a similar collaboration with Dominique Deluze.
2008
I was invited to exhibit by Vivonne Thwaites at the Artroom5.
Vivonne was the curator of the Art Space Adelaide festival centre
exhibition centre where I had exhibited my original animation cels.
She now runs her own private gallery.
2011
Lewis Argall and Lucinda Clutterbuck studio show. I start collaborating with my son.
Lewis and I collaborated in an exhibition. The culmination was a music video using his images and sculptures and my animation of these elements. We used the Australian band Dog Trumpet and had an event where they performed the song and we exhibited our work.
Smith Cinema des Antipodes St Tropez France
Bernard Bories invited me back to St. Tropez for my first public art exhibition of Smith as Artist in residence at the annual international festival of Australian and New Zealand films. Cinema Des Antipodes.
2011
La menagerie Artist in Residence
La Mediatheque de Tournefueille Artist in Residence
In collaboration with Dominique Deluze I worked as Artist in Residence at La Menagerie in Toulouse, for the months of October and November. The work included public art exhibits in and around Toulouse as well as working
with visiting groups.
As part of the residency with La Menagerie I also worked at La Mediatheque de Tournefueille. Here I continued to prepare large scale public work and exhibited in a gallery space and was visited by school groups.
Les Abattoirs Contemporary Art Museum of Toulouse France
I prepared an exhibition and installation at the contemporary Art Museum of Toulouse which included three large works for the facade and inside, a more intimate installation of paintings and objects.
Public art La Grave Toulouse
We were attempting to use the city of Toulouse as a gallery space. This old bridge pylon is part of La Grave hospital which has been at this location since 1197.
2012–2014
I realised I needed to upgrade my skills in order to keep up with movement towards Trans Media. I spent 4 years at Randwick Tafe and one year at North Sydney Institute.
2014
Articulate Project Space
Smith and the Sacred Graffiti Machine
agardish#
Intersect Arts
I Welcome your Intervention
Guerilla Films
Sherock Holmes and the Internet of Things.
2016
Forward Slash Story: a three day experience for story tellers in Costa Rica.
Lucinda Clutterbuck
Portfolio
