Bennett first came into the limelight in 2004 when her work featured in the first British series of the TV show, The Apprentice, where the contestants hosted a solo exhibition of her paintings in London’s most established gallery row, Cork Street.
Since then her work has continuously drawn worldwide interest from new art buyers and established collectors alike and Bennett has become one of Eyestorm’s most popular female artists of all time.

The first works with Lucie Bennett were released in 2005, where 12 female form-inspired works were offered, including best-selling Red Felt Tip Girl, Green Felt Tip Girl, Pink Knickers and Rose-Coloured Shoes. This sassy female artist, who went everywhere on roller-blades, very quickly captured the imagination of collectors with the confident silhouettes of these 12 women, who just like her, were all full of attitude, self-awareness and individuality. These four editions are now sold out in their entirety and regularly appear on the secondary market for around the $3035.00 mark (with a premium for artist's proofs), which is over six times the price they were originally sold at. Bennett came in with a bang, fresh and vital. Her allure over the years has only magnified as she hones what it is to depict femininity in art by harnessing complex codes of personal identity in impressively simple terms.

It’s been the combination of Bennett’s constant revisiting of her core theme coupled with her very distinctive style that has seen her evolve into the recognizable artist she is today. Whatever medium she is working in, her signature thick and graphic line maintains a consistent width, it’s not a delineation that is spindly and unsure of itself but shows off a dexterity that has developed alluring swirls and twirls to the lines. These curves might describe how the small of the back is finished, the crook of the elbow is made distinct or how a twist of hair might fall on the nape of the neck. This identifiable touch, which is in all of her work, is what makes Bennett stand out, and what makes collectors able to distinguish her style even when the female figures are playfully hidden. To conceal the female silhouette demonstrates an interesting conflict with her overall approach, but obscuring her distinctive line has procured success nonetheless.

In 2011 an unusual body of work came from Bennett which described the female form within block colour and behind a collage-effect of flora and fauna. An important departure from her previous work, Orange Blossom, Kuniyoshi, Silver Jungle and Blue Jungle follow a series of study drawings that were made during a visit to botanical gardens and express an unseen territory within female identity. While examining the plants in the garden at close proximity, Bennett drew similarities between the natural lines of the stems, leaves and flowers in front of her, and her own observations of the human body. After more thought and consideration, Bennett began to move away from concentrating on the external lines of the body. What emerged was a strong body of work that saw Bennett’s imagination and initiative grapple with fresh ideas with the subject matter.

These floral works, although intriguing from a developmental point of view, didn’t trump the single-line works, which are the ones continually finding their way into many more art collections. From the huge popularity of the 2005 screenprints, through to her giclee prints from 2008 such as Tangerine Pants and Red Satin Pants, which are printed digitally but created directly from her line drawings, there is an ever-increasing demand for the classic female silhouette created in its simplest form. Bennett responds to demand at her own pace, only creating when the creative moment reveals itself to her. The result is that each new edition is often highly anticipated and Ring-a-Zing-Zing and Electric Dreams were much in demand as the only new editions by the artist in three years. The works feature bright, almost neon, hues of zinging orange and electric blue, responding to each other in their body language and complimentary colour-pairing. Each existing in editions of 75, these works are currently her best received editions.

Where there are lively pops of colour showing off coquettish poses, Bennett will also surprise with cooler, more elegant works which show a demure look, fleetingly suggestive through sheens of muted pastel hues. Lucie Bennett’s 2015 screenprints, Duck Feather Blue and Softest Cinnamon are such pieces, and are quite a contrast to the work of former years. They’ve therefore been widely collected across international fairs on three continents as they offer her collectors a completely different type of print. Another sway for the collector, is that Bennett carefully considers offering work that sits somewhere between her original painting and her hand-printed screenprint editions. Damson Fling and Racing Green are available in restricted quantities of just 15 prints, but more than their scarcity is the allure of the high-gloss lines that gives a lustre to the work that is very reminiscent of her painting. Such paintings are priced from XXX, showing an impressive five-fold price increase on her originals in the last 13 years; they sold for £1000/$1,300 in 2003.

Through the carefully selected colour palettes effortlessly working with the images, and of course her deftly controlled line, Bennett’s women are a strong display of feminine identity, expressed in the most minimalist of ways. As her techniques and ideas develop and a growing abundance of media are drawn on, her lines are still always simplified, refined and stripped back and this perhaps is why her work is so popular and widely collected. Bennett has work in the permanent collection of the Groucho Club in London and her work is shown regularly at art fairs including the Armory Fair in New York, Christie’s London, and internationally in cities including Hong Kong, Singapore, Seoul and Mexico City.