In a deviation from my seasonal approach to art we began working on a live brief at University in January - producing a group installation for the V&A Performance Festival. The creative challenges included how to remain true to my own style, working practice and methodologies whilst producing work that fitted a tight aesthetic brief and worked cohesively with 5 other designers to produce a complete installation - not a small ask!

On visiting the install site I knew immediately that I would need to produce lighting for the space - we were in the British Galleries which chart british art and design from the 1500 - 1900 and most specifically our installation would sit in front of this huge textile piece known as The Stoke Edith Hanging - on first look, a depiction of Georgian formality, but on closer inspection there are dynamics between the characters and events that suggest social commentary and mischief (spot the servant who has tripped and spilt the wine!). This dual aspect to the tapestry fitted rather well with the other important part of our brief - the theme of illusion, and specifically the magic of Shakespeare’s A Midsummer Night’s Dream. The title for installation became ‘Where the wild thyme blows…’:

Initially, I was drawn to the foliage in the tapestry and thinking back to my ideas, from the Autumn project, of using couture techniques in light structures, I first explored ruching and ruffles - thinking about Thomas Gainsborough’s paintings and how his painted marks for ruffles and fabrics were informed by his rendering of his beloved foliage. Then, explorations into repurposing plastic bags and bottles (inspired by Oliver Messel whose work on the c.1937 production of A Midsummer Night's dream features in the Museum's Collection and utilises found materials in his costume designs) focussed on floral forms, too.

Sculpting flowers from plastic, I needed a fabric to cover them and so I created a repeat pattern from the flowers found on the wild bank where Titania sleeps. This proved a formative movement style wise. Initially I drew my designs digitally and produced patterns that successfully evoked an abundance of wild flowers using the colour palette from the tapestry. However, they didn't sing to me - they were too ‘polite’, too neat, too commercial? I realised I had to get my gesture back into the designs - a more physical, painted mark. I painted the flowers larger and more boldly, eventually creating three repeating patterns I could screen print. (I loved one so much I printed some cotton and made a top to wear at the V&A, too!)

Here is my exhibition label:

Titania’s Bower

Lucy Perry

Giant flower lamps and giant vase with flowers

Hand printed fabrics, recycled plastic and laser cut acrylic with foil

My work for this project centres on Titania’s bower — the wild, floral haven Shakespeare imagined for her enchanted sleep. As a painter and printmaker deeply inspired by time spent in nature, I wanted my surface patterns to feel immediate and spontaneous, as though sketched while seated among the blooms on the grassy bank, where the wild thyme blows.

Whether painting, printing, or designing, I aim to capture and share the joy I find in the natural world, bringing that sense of wonder into the home.

In addition to the printed fabrics, I’ve created an oversized vase to display flowers made from recycled plastic bags — can you spot pieces of the V&A bag from the late-2010s? Canvas vase slips are a regular part of my practice, but this is the largest one I’ve ever made.

As we brought the project closer to install, I took on the role of creative director and devised props and staging that could visually bring the 6 individual designers’ work together. The colour palette looked fantastic and so introducing the oversized, Wonderland-esq stems, buds and scattered flowers ‘glued’ the pieces together further and added to narrative of magic. I also laser cut words from Shakespeare’s prose and foiled them with glittering gold - these were scattered through the display. Everyone produced stunning work and it was a privilege to work as part of this talented and inspiring team - we were exhausted after install but managed to enjoy a celebratory glass of champagne before the museum closed for the night!

We had some lovely interactions with visitors to the installation (much appreciation to the friends who travelled from Suffolk to view, such wonderful support xx) and observations from the museum curators which focussed on the ‘aesthetic synergy’ and noted our references to Messel were particularly well received.

And, now I can write on my CV - Exhibitor at the Victoria and Albert Museum, May 2025 !!!!

Exhibiting at the V&A Museum: Where the wild thyme blows…

Apricity - the warmth of the winter sun.