Selected works by Juliette Losq

Juliette Losq


Pen and ink

240 x 480 x 60 cm


November 14th, 2012 by ART WEDNESDAY

Juliette Losq popped onto our radar a couple of years ago when she exhibited in the RA’s summer show, so when her name appeared on our Facebook page to be featured on Art Wednesday, we thought we’d better get in touch. The Essex-born 34-year-old London-based artist creates hauntingly beautiful, large-scale photographic-esque paintings. Blending print-making and etching techniques, her artwork depicts overgrown, neglected landscapes that are inspired by the writers Iain Sinclair and Peter Ackroyd, as well as Victorian prints, rococo compositions and daguerreotypes, to horror and science fiction films. She integrates all these elements into her own documentation of dilapidated landscapes, playing with notions of the interior and bringing the outside in – note the Victorian fire places in the photos below. It’s all very clever stuff.

Juliette studied English and History of Art at Cambridge, then did an MA in Eighteenth Century British and French Art at the Courtauld Institute. She worked in the City for a few years, before she came to her senses and returned to study Fine Art at Wimbledon College of Art (BA Hons 2007), followed by a PG Dip at the Royal Academy Schools (2010), phew that’s a lot of education. But the hours of hard graft and of course her art skills paid off and she won the prestigious Jerwood Drawing Prize in 2005. Although she was encouraged to study academic subjects (you don’t say!), her father was an art teacher – the obvious inspiration behind her path into art. She studied her art A-level at home under his watchful eye and continued to make work and exhibit during her degree at Cambridge.


October 5th, 2012, by Allison Meier, Blouin Artinfo

In her depictions of derelict landscapes, Juliette Losq aims to place her viewer on edge. Her dense ink drawings create worlds at the breach of nature and the urban, where dark forests creep up to buildings in ruins, their walls hexed with graffiti; and where stagnant water that reflects both serenely and grotesque flows beneath empty bridges. The British artist has an incredible talent for capturing the unease and appeal of abandoned places, and this month she opens her first solo exhibition in the United States at Theodore:Art in Brooklyn.

“I’m generally drawn to work where the landscape, whether populated or not, is an active element rather than a backdrop,” Losq told ARTINFO. Her background is in art history, literature, and fine art, studying at an impressive multitude of institutions, including Newnham College at the University of Cambridge, the Courtauld Institute of Art, Wimbledon College of Art, and the Royal Academy of Arts in London. It was there that she met Stephanie Theodore of Theodore:Art, who has worked with several alumni of the RA program as part of her efforts to showcase emerging European artists in the US.


May 13, FAD

This is Juliette’s main piece to feature as part of the Catlin Art Prize 2011 exhibition it is a large scale myriorama – a take on the Victorian children’s playing cards, which, when next to one another, can be moved around in any order to create a panoramic landscape. Juliette is interested in Victorian optical devices such as the panorama, the diorama and the myriorama and the ways in which the Victorians used these devices to present landscape as a spectacle.
Below Juliette answers a few questions from FAD followed by her biog.
1 If you weren’t an artist, what else would you be?
I’d love to be a field zoologist working in the Amazon
2 Name 3 of your favourite artists.
Samuel Palmer, Walton Ford, Reece Jones
3 What was the most intelligent thing that someone said or wrote about your work?
“Through her pictoral recording of place and the accompanying insinuation of grim melodrama, Losq stands in for the anonymous illustrators as well as the ‘common reader’ of the Victorian age, hungry for lurid stories of scandal and sensation from the seamier side of life. The viewer thus finds himself in a vaguely voyeuristic position, simultaneously lulled by natural beauty and goaded by implications of naughtiness.”
Stephanie Theodore- Psychogeographical in Ink: The Wunderkammer of Juliette Losq
4 Do you care what your art costs? State your reasons!
Pricing work is very difficult and in the past I’ve relied on people like former tutors for a consensus.
I was advised on my BA course at Wimbledon College of Art that as long as you don’t decrease your prices at a later date, thereby annoying anyone who bought earlier work, then you can’t go too far wrong.
5 What are the three big ideas that you would like your work to express?
I’m interested in the philosopher Henri Bergson and his theory that the past is bound up physically in the current moment, driving time forward – like a comet’s tail – and being carried along with it.
I’m constantly questioning my interest in representing the landscape, and I carry out research into the ways in which my vision of the landscape has been (re) framed historically. I’m currently looking at the ways in which the Victorians used optical devices to present the landscape as a spectacle. I’m reading about how they used functions of doubling and repetition in dioramas and moving panoramas to present scenes of ruin and disaster for the viewer’s meditation and delectation. The abundance of Gothic abbeys and deserted or crumbling dwellings in these devices ensured that they became associated with mortality and the unfamiliar. I am interested in transposing these uncanny themes and effects to the contemporary derelict and marginal landscapes that form the basis of my work.
More generally I want to convey the notion of the symbolic ‘Clearing’ in my work: the place where order and civilisation meet chaos and wilderness. I try to evoke in these hinterlands the primal notion that a step in the wrong direction might lead to the forest snatching you into its depths.
6 How do you start the process of making work?
For me the most important thing is to have good photographic sources. I am constantly looking for new environments to explore, both in London and beyond. I’ll then make a series of excursions, take hundreds of photographs, and start working them up into collages in my studio.
7. What’s next for you?
I’m about to be included in a group show in Edinburgh, organised by an artist-run initiative called Sunbear Gallery. The show will be part of the Embassy Annuale 2011 festival in June.


by Stephanie Theodore, Theodore:Art

Jack the Ripper is probably psychogeographical in love.
Juliette Losq refuses to take sides in her work, which presents as both photographic and hazy, documentary and nostalgic, gritty and bucolic. Her leafy landscapes offer the serenity of a bucolic woodland hideaway.

Losq sets forth on foot to wander the canals and rail lines that inhabit the least desirable of urban land, finding meaning and narrative in shadowed corners and overgrown plots. Losq cites the influence of Iain Sinclair’s appropriation of the Situationists International’s idea of psychogeography as a methodological influence:
“For me, it’s a way of psychoanalysing the psychosis of the place in which I happen to live. I’m just exploiting it because I think it’s a canny way to write about London.
Although her earlier work may reflect gravitation towards the picturesque, Losq has overlaid her scene-capturing work with a compelling pall, filtering her observations through the influence of other paths of intellectual exploration. The dark subtext of her work touches on the decay of forgotten corners of an outdated industrial London and the rough interactions that might have occurred therein. Her fascination with crime and horror stories from the Victorian era, as illustrated by engravers for such publications as The Illustrated Police News, provides the “habitual axes” along the by-ways in the darkness on the edge of town. In this past time, newspapers did not feature photographic reproduction, relying instead on the balance of artistic interpretation and objectivity of the draughtsman. The time it took to produce the illustration of a crime scene allowed for the artist to shape it into a tale, to be passed down and changed according to the next storyteller. This discrepancy between eye and hand that whets the imagination was lost in the adoption of photography to illustrate the news.

In her role as anachronistic documentarian, Losq records the images of these places from memory to reflect on the lives, real or imaginary, that have passed through; or rather, the lives that have perhaps passed on there. Through her pictoral recording of place and the accompanying insinuation of grim melodrama, Losq stands in for the anonymous illustrators as well as the ‘common reader’ of the Victorian age, hungry for lurid stories of scandal and sensation from the seamier side of life. The viewer thus finds himself in a vaguely voyeuristic position, simultaneously lulled by natural beauty and goaded by implications of naughtiness.

In Wunderkammer, while the setting is at first glance rustic and calm with a rather pleasing vagueness. However, there appears no obvious entrance or exit from the thicket of grassy undergrowth and low craggy trees. The sepia tone of the illustrated foliage suggests the passage of time in memory – the rich greens of summer leaves have faded, while the setting itself is rendered carefully, yet distorted. The images along the paper’s edges do not match up, creating an impression of dense arborial barriers, and leaving shadowy gaps where the pleasures of a woodland reveries slip into ominous shadows. Amongst the foliage, the viewer can find himself as lost as he might in a similar real life setting; the illusion of an observer haunts the viewer, who is thus turned into the viewed.

Accompanying the large wall work, the cabinet referred to in the installation’s title serves as an ambiguous repository of vision and memory. Behind faceted glass doors lies an isolated detail, the bits the viewer might have overlooked in his anxiety. The foliage blends in and blurs, shape-shifting into mirages of uncertainty and foreboding. Is it a face, attached a figure, hiding amongst the reed and the grain of the wood. Quick, close the cabinet doors! Keep it locked up!


Kit Kemp: the style secrets of a famous hotelier and interior designer
By Liz Hoggard, Thursday 24 March 2016

Kit Kemp’s latest London hotel is a regular celeb haunt. An interior designer by trade and a passionate collector she thinks we should respect our British artists more and shares her insider tips on where to discover great finds in the city....

Kit Kemp has been splashing colour on to London’s hotel scene for the past 30 years. Her Firmdale Hotels portfolio, co-founded with her property developer husband, includes the Soho, Charlotte Street and Covent Garden Hotels, as well as Ham Yard in Soho, now a regular haunt for film premieres and theatre after-parties.
An interior designer by trade, she is a passionate collector and all her hotels display art, craft and design commissions. She says a good hotel throughout “should have a sense of arrival and adventure”.

Read the entire article here

Meet: Juliette Losq
University of the Arts Alumni News, 7 September 2015

Juliette graduated from BA (Hons) Fine Art: Painting at Wimbledon College of Arts in 2007. She was recently awarded the Windsor & Newton Painting Prize. We caught up with her to find out more about her time at Wimbledon and where she gets her inspiration…

I had always wanted to go to art school but was persuaded out of it by my school. I studied English for two years, before changing to History of Art. As soon as I did this I realised I wanted to make art work. I completed my degrees in History of Art whilst simultaneously taking art classes and saving up to return to study Fine Art.

Before I applied to Wimbledon I was working as an insurance broker – but it was a means to an end. I attended portfolio preparation classes at Central St Martins at weekends and as short courses, whilst working in the City. As soon as I felt I had enough work, and on advice of the tutors, I put in applications for BA courses. Wimbledon had an excellent reputation for painting and students had very good spaces to work in. Having looked around the college I could see that students were able to work independently as well as having excellent technical support.

Read the entire article here

In talk with Juliette Losq
By Daria Zlobina, Art Versed

Juliette Losq is a London based artist, both born and raised in the city. Before taking an artistic path, she undertook an immersive training as an art historian, graduating with an MA in art history from the Courtauld Institute of Art and continuing on to study fine art. Having had a number of solo and group exhibitions in the past, the artist mostly works with traditional technique of watercoloring, though adding a touch of contemporaneity to the artistic feel of a piece. I caught up with Juliette in her studio in Southwark (n.b. the artist just moved to a new location, DZ), where surrounded by a variety of her pieces we talked about art, literature, and life

Read the entire article here