Lucy Tomlins

Lucy Tomlins

Executive Director
Lucy Tomlins is an artist, creative producer and founding director of Pangaea. Since graduating from the Royal College of Art, MA Sculpture (2012), Lucy has evolved a hybrid practice, running a creative matrix that includes curating/producing discursive and educational art programmes developed through embedded research, participation and engagement; artwork conception and realisation; and managing sculpture design, fabrication and delivery for other artists, designers, architects and cultural institutions. This sees her toggling between large-scale collaboration and working solo; blending these different strands of activity and understanding them all as essential parts of an enriching and contemporary creative practice.

A lateral thinking, collaborative and hands-on producer, she is committed to production excellence, sustainability and innovation. An excellent translator of ideas across contexts, registers and mediums. She is adept at engaging the complex network of interdependencies involved in context-specific collaboration, flexing between close working with artists and production teams to refine concepts into deliverables, establishing partnerships with high-profile organisations and building relationships with local community interest groups and individuals at a grass roots level.

Initially graduating from Manchester Business School, whilst it was still UMIST, Lucy had a successful career that spanned publishing, design and marketing before retraining and moving into the contemporary art sector in her late twenties. She has presented early career opportunities, mentoring and support to artist including Frances Richardson, Ro Robertson, Rachael Champion, Byzantia Harlow, Jamie Fitzpatrick and David Rickard. Clients and collaborators include Alison Brookes Architects, ARUP, Birmingham Hippodrome, Coventry University, Davidson Homes, The Line, London Design Festival, muf architecture/art, Redrow, UAL and Warwick District Council.

Unapologetically defining herself as a ‘sculptor’ in a time of dematerialised art practice, Lucy embraces the deeply rooted commitment to craft skills within this art form and offers an elasticity to this definition that harnesses the values, principles and commitments of a sensibility preoccupied with the phenomenological experience of materiality and space. This extends to the invisible systems, structures and social conditions that mediate this engagement.


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