The Royal Society of Sculptors has grown substantially since it was first founded in 1905, going from a membership of 51 to over 750. The majority of our members make a lifetime commitment to the Society, and we are delighted to celebrate Fellows who have been with us for 40 years or more!
Lucy Poett MRSS joined the Society in 1981. Sculptor and painter, she was born in Edinburgh and studied at the Heatherly School of Art, London, before returning to Scotland to help run the family farm near Dundee. After completing her education at Dundee College of Art under Scott Sutherland, she established a studio in Chelsea, London, where she undertook numerous portrait commissions. As a sculptor she is best known for her small-scale studies in resin bronze of animals, including livestock, domestic pets and wildlife, but she has also undertaken more monumental works, such as Sandy Irvine Robertson (2000), on The Shore, Edinburgh, and The Highland Drover (2011), at Dingwall, Ross & Cromarty (pictured above). She regularly exhibits at the Royal Scottish Academy.
WHO WAS THE FIRST PERSON TO ENCOURAGE YOU TO BECOME A SCULPTOR? WHAT DID THEY SEE IN YOU?
Cubit Bevis; he taught Sculpture at the Heatherley School of Fine Art. I was painting and he encouraged me to try clay in his department. I was only there for four months, but Cubit started me off.
As for what they saw in me, my husband tells me that I was very attractive and great fun.
WHO WAS YOUR MOST INFLUENTIAL TEACHER?
Scott Sutherland at the Duncan of Jordanstone College of Art & Design. I was about 19 and went to his evening classes – when there was a model. Scott was very encouraging and he taught me all that I know. He did a wonderful War Memorial for the Commandos at Spean Bridge. He also played the violin and was fun to work with.
HOW DID THE ART MARKET RESPOND TO YOUR WORK IN THE EARLY DAYS? DID YOU GET PICKED UP BY A GALLERY EARLY ON?
I lived in a garage studio in London (Chelsea) where I did several practice clay heads and I then started to get commissions. I used to sell pencil drawings through Mayfair galleries.
WHAT WAS YOUR BIGGEST OBSTACLE AND HOW DID YOU OVERCOME IT?
My time in London was broken up with traveling to Scotland to look after a rather rundown family farm.
DID YOU DEVELOP YOUR PRACTICE IN SOLITUED OR WITHIN A GROUP?
In solitude with a gramophone and records!
WHAT WAS YOUR BIGGEST HELP?
Scott Sutherland in Dundee.
DID YOU DREAM BIG OR DID "BIG" SCARE YOU?
‘Big’ did not scare me. I have completed three life size public sculptures.
WHAT IS THE BEST THING A CRITIC HAS SAID ABOUT YOU?
I have never really concerned myself with ‘Critics’, but people have always been very kind about my work.
The Royal Society of Portrait Painters have kindly exhibited many of my portraits in oils at their Exhibitions in the Mall Galleries.
WHAT IS YOUR FAVOURITE COMMISSION / SCULPTURE YOU HAVE WORKED ON?
I think that my favourite commission (being an amateur farmer as well) was a life size Highland Bull with his Drover and Collie dog at Dingwall. It is on public display and has been very well received (pictured here at the top of the article)
I also have a pair of bronze portrait heads of Patrick Leigh Fermor and Wilfred Thesiger together in the hall of the Travelers Club in Pall Mall, London. They were two fascinating ‘sitters’.
IS THERE ANYTHING ELSE YOU WOULD LIKE TO ADD?
I hope to continue to work for a long time! I am presently working on a portrait head for the actor Ewan McGregor
