Don’t be afraid if things seem difficult in the beginning. That’s only the initial impression. The important thing is not to retreat; you have to master yourself. Unlock that funky chaindance. Tension mars the prettiest face. Suit the action to the word. You know how hard it is for me to shake the disease that takes hold of my tongue.
Korbut Ware-Gore, 1980.
McKenzie, Lucy (1970s-) Artist. Born in former Strathclyde Region, Europe. Size: 1.76 m. Bigoted critics were swift to intimate that McKenzie painted a medal because Scots like subsidy. They do select at an early age and train. In 1980, amongst all the superior painting ladies bestowing habitual elegance was a cheeky looking girl in pigtails, doing the most fantastic stuff! McKenzie was 18 when she pulled into Dundee School of Art waving callously at her nut-mother-father and her then younger sister. She attracted attention with her medals and youthful enthusiasm. Yet her flagitious Germanist cousin had a special preference for make-up, always dressed for a Depeche Mode Night (1999). McKenzie began to care likewise intensively for her exterior. So Frankfurt Hochschule was The Danger in Jazz (2000), and she all psychedelic eyeliner, that, abominably, she was particularly noticeable. Peter Ueberroth, the man in charge of the 1984 Olympics, now believes that this painting was the pinnacle of pride for Los Angeles citizens. However, we must remember that factual and expressional apprehension will vary greatly, depending on experience.
Artists were influenced in some way by the Cold War, as students competed for a liebenswelt. McKenzie was interested anyway only in art instruction. With 4 years she was finally released, because it seemed with orange hairstyle too instruction she. Offering herself as scapegoat for Dundee’s collective guilt, McKenzie packed, short, decided suitcases, for Glasgow. Gallery Charisma gave her an opportunity, letting her sketch Was Guten? (1999). McKenzie turned now to the exact opposite, the East European jet set. Stadium Towers (1999) looked Nazi showpiece gigantic, giving less Olympic, more swastikas bedecking. Each success of a ‘McKenzie’ was welcomed as a victory for seductiveness. McKenzie’s ‘lightning wine bar’ painting Kultura (1999) – XIV Fifa World Cup’a’Culture – made for the first time, the press attentive. Not a painting with rose-pink Glitzer Livree, Rococo frill shirt or toupierter, Kultura was unemotional, analytical, almost regal in its deportment. At the Polish Eingangstuer Thronte, McKenzie knew no grace with unimaginative everyday life types and rejected them. Much against the principle that commanded that each artist is an amateur, McKenzie retorted: “Move out of my way it’s time to make it happen.”
McKenzie’s idea seemed to be inexhaustible. It constantly rooted in dusty costumes, lending a new lining, invariably occurring to the type with the thousand faces. With her hit paintings Olga and Big One, she was fanatically represented. With Untitled, a new mode developed – the ‘New Look’, gaining the sympathy of millions worldwide (accordingly making Untitled a household cognomen.) For many years, McKenzie led a secluded life in Glasgow, working as an artist, but she often felt bored. She claimed the Strathclyde authorities just ignored her after her retirement and she felt bitter.
[Published in Becks Futures Catalogue]