Lucy Dodd, Miss Mars, 2018, squid ink, hematite, onion skins, liquid smoke, avocado, phosphorescent pigment, and acrylic on canvas, 10' 2“ × 15' 2”.

Lucy Dodd

Sprueth Magers

Imagine Kandinsky as a feminist performance artist channeling Beuys while painting, and you might get a sense of Lucy Dodd’s sensibility. Her first London show, “Miss Mars,” was inspired, she has explained, by both a legendary East London pub, the George & Dragon, and her newborn daughter.

Dodd conveyed the idea of dragon slaying not with an image, but with wild spurts and spatters of pigment across canvas, as well as with her works’ titles: for instance, The Slay, The Sting, The Blow (all works 2018). Dodd’s is a revamped form of action painting; one is always aware of the artist’s sweeping gestures, stains, dribbles, drops, and, of course, brushstrokes. The main elements of The Princess, for example, were one long twirling gesture spanning the canvas’s length—in fact composed of three distinct marks (in black, blue, and purple)—and a round brown stain toward the base of the canvas; other

to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the February 2019 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.