Lucy raven received a BFA in studio art and a BA in Art History from the University of Arizona in Tucson (2000), and an MFA from Bard College’s Milton Avery graduate School of the Arts, Annandale-on-Hudson, New York (2008). Her works can be found in the permanent collections of Tate Modern, Museum of Modern Art, Whitney, and Guggenheim. She is based in New York City.
Primarily grounded in animation and the moving image, raven’s multidisciplinary practice also incorporates still photography, installation, sound, and performative lecture. Her work deploys image-making processes used in twenty-first-century filmmaking, which often hide the underlying labor in order to investigate the impact of industrial systems and technology within a global infrastructure.
Lucy’s two-part residency occurred on June 2017 and continued on April 2018.
During her three-week residency in June, Raven delved into her interest in bas-relief with the carvers in the wood workshops at Las Casas Filipinas de Acuzar. She collaborated with them to create a new animated film, The Sea (2017)—her artistic response to Chapter 22 of Chilean author Roberto Bolaño’s 1980 novella Antwerp (published in 2002). Antwerp is comprised of 56 chapters that loosely follow a detective story with unnamed characters such as “the girl” and “the cop”—and Chapter 22 is “the sea” and contains a diagram. The Sea is part of a larger film project called “56,” by Raven’s production company Thirteen Black Cats, in which artists commission different artists and filmmakers to adapt a chapter of the book. Raven worked with the artisans at Las Casas to create wooden waves that can be manually animated with a wooden crank, with further transformations created by her video animation team in New York.
As part of the public program of the Bellas Artes Outpost in Manila, Raven delivered an illustrated lecture entitled “Low Relief”, which she updated with imagery from her visits in the Philippines. “Low Relief” connected the artist’s research on bas-relief sculpture in both India and the United States to the illusion of depth created in stereoscopic 3D films, as well as the globallyconnected, labor-intensive processes of post-production involved.
Raven returned on April 1 to continue her residency and is currently developing a new project with Bellas Artes Projects for a future exhibition in late 2018. Lucy visited the PHILVOCS (Philippine Institute of Volcanology and Seismology) and the Pinatubo Museum for research on volcanos. The museum is run by the Center for Kapampangan Studies of the Holy Angel University in Angeles, Pampanga.
Raven’s research culminated in the exhibition Internal Properties of the Earth, presented at Bap’s Outpost in Makati on January 19–April 13, 2019. The exhibition debuts a new photographic series Fire and Mud (2018-2019), drawing inspiration from the 1991 volcanic eruption of Mt. Pinatubo in the Central Luzon region of the Philippines and the subsequent evacuation of the nearby Clark Air Force Base in Angeles City, to examine the ongoing effects of American colonialism in the country.
Bellas Artes Projects
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