Lucy Nicholson

I recently saw the Michael Craig-Martin exhibition at the Royal Academy. I love the vibrant colour palettes he uses which transform everyday objects.

The Yoshitomo Nara show at the Hayward Gallery really stayed with me. His paintings have this way of looking straight back at you with those wide, defiant, emotionally charged eyes that feel both childlike and deeply knowing. I loved how something so simple and pared-back could hold so much attitude, vulnerability and quiet power.

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The Kerry James Marshall exhibition at the Royal Academy was one of those shows that stays with you long after you leave. His ability to reframe art history with such power and elegance honestly took my breath away. I loved how every piece felt monumental yet deeply intimate at the same time.

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I’m really passionate about discovering emerging artists. There’s something so exciting about seeing new voices push ideas in unexpected directions. Recently, I was captivated by Emil Sands in the exhibition The Stories We Tell (2025) at Victoria Miro. His work felt so fresh and full of energy. Experiences like these remind me why I love following emerging practices; you can feel the momentum and possibility in the room.

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One of my favourite artists is Paula Rego. I’m constantly drawn to her work because she is an uncompromising storyteller.  She has brought immense psychological insight and imaginative power to figurative art, drawing on literature, folk-legends, myths and fairytales to create worlds that feel deeply human. Her art stays with you, long after you’ve seen it.

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Printmaking has become a bit of an obsession for me. I love the craft and precision behind it - the layers, the textures, the endless variations. One of my absolute favourite artists is the late great Norman Ackroyd, and I feel incredibly lucky to have met him and visited his Bermondsey studio, seeing his process up close, the plates, the inks, the quiet focus of his workspace, made me appreciate the medium on a completely different level.

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