The distant state of mind in each of the two women is striking. Glazing vacantly and occupied by a stray thought, there is an awareness on the present moment. A carved out space in time where only a physical body and intangible thoughts exists, even if just for a fraction of time. This is a personal moment, and however intriguing the access to the inner reflections of either of the subjects might be, is it not intended to be shared. The privilege is to simply observe, unnoticed and from a distance.

Bennett’s women don’t mind the attention, even when goes unnoticed. Most often they demand it. Entering shortly after the turn of the millennium, they were young, suggestive and provocative. Spotlight seekers and proud of it! A few were disguised as mythological sirens, serenading to lead men astray. Others were accessorised with Playboy bunny ears and had a playful wink in their eyes, creating a sexually charged atmosphere of a late night flirtation.

As Bennett’s work developed over the years she allowed the women, nude and with fewer accessories, to take centre stage and left the spirit animals and other references seen in her earliest work in the background. By 2005, a new generation of female subjects in extroverted and animated poses came to life. Presented in Bennett’s confident linework, Airforce Blue, Green Felt Tip Girl, Rose-Coloured Shoes and other works on paper showed women in cropped daring poses; classic works in Bennett’s oeuvre which were followed by the cool and slick Ring-a-Zing-Zing and Electric Dreams.

Contrasting the sophisticated women for which the artist is recognised, the female subjects in the two works that followed, Duck Feather Blue and Softest Cinnamon, are more subdued and introverted. Gone are the sexy, sassy poses using bright, vibrant and almost fluorescent colour. In Duck Feather Blue, the figure stands with her head down and her arms relaxed in front of her, clearly in a spontaneous moment following an unintentional train of thought. The same serenity is found in Softest Cinnamon. Here, the female subject is sitting on the floor, averted as she glances over her left shoulder and her arms wrapped around her legs in a guarded manner. A moment entirely owned by her.

Colour plays a major role in all Bennett’s work, often as much as the image itself. For Duck Feather Blue and Softest Cinnamon the chosen palette is calm and tranquil, each colour embracing the silhouette by being present in two tones; one forms the backdrop and a darker shade of it is applied for the flowing lines. The attention and perfection that goes into mixing and selecting each hue are to such extend that it can easily be missed by the viewer, which is exactly its purpose. Like a conductor of an orchestra, colour supports the work but never steals the show; except for the title of the works where colour is permitted to divert attention to itself. ‘Softest Cinnamon’ and ‘Duck Feather Blue’ - two well defined names in the colour registry - are a stimulus language that triggers a response in the audience upon reading it. Visually and associatively, Bennett’s choice of colour for the two works on paper compliments the image perfectly.

The allure of the women portrayed by Bennett goes beyond their classical beauty. Originally exploring female identity and sexuality, her subjects have matured into authentic characters, again and again showing new and expressive sides to them. It is through the versatility of her subjects and the “life experience” beyond the two-dimensional confinement of the medium that Bennett succeeds in making the viewer connect when in the presence of her work.

Successful print editions, such as Pink Knickers and the felt-tip girls were the first of twenty screenprints released over a period of fifteen years in an exclusive collaboration between Lucie Bennett and Eyestorm. Duck Feather Blue and Softest Cinnamon from 2015 are the part of the artist’s practice which portray a softer side of her subjects; women caught in a quiet and personal moment. The editions of 75 each are signed, titled and numbered on front.

To view the print editions in further details and to find more information about available works by Lucie Bennett, visit the artist’s page here.