1st place
gold star award
Claire Luxton
united kingdom 
Photo © Claire Luxton
title
NATURE VS NURTURE
Often triggered by something she has read, Luxton’s work delves into a variety of histories. Most of her projects start with an extensive research period where she looks for literary, artistic, botanical, animalistic and musical references, as well as exploring colour, texture, and objects. Using her own human features — eyes, nose, lips and hands — as a base for her compositions, she constructs otherworldly narratives, populated by butterflies, flowers and clouds. Inspired by Italian and Northern Renaissance portraits, all the components of her images play with classical symbolism. A way to interpret her portraits is through her carefully crafted titles and accompanying poems, such as Unravel, 2023.
Luxton performs detailed narratives for the camera. Her images first exist as a sculpted set, where the model, herself, shape-shifts through cosmetics, props and light. And all ornamentations complement each other. An immersive quality, or element, is achieved thanks to post-production digital technology, leaving the viewer wondering if they are looking at a painting or photography. Luxton states that she “creates canvases thanks to photography”. More recently, as a way
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entry description
This selection of fine art self-portraits made over three years explores the delicate relationship between humans, nature and technology. Each portrait explores truth and vulnerability. Complex narratives of societal pressures, the female condition and beauty are juxtaposed with colour, historical art references and the speed at which humans and technology are evolving. Each portrait is its own ecosystem, crafted first, in reality, using real animals, physical sets and props it is then transformed through the lens of the camera and detailed digital layering to draw a fine line between photography and painting.about the photographer
At the junction of theatre, performance, photography, and technology, Claire Luxton explores the art of self-representation. Luxton started her education focusing on photography, however, she felt constrained by the limits of medium-specificity. At that time, she started shaping her visual language and quickly realised that her preferred source material was her own physicality. Her body became the most appropriate tool to explore emotions, affections and concerns. At the centre of her practice lies her own vulnerability as a way to connect with viewers. By assuming different disguises and utilising self-portraiture as a powerful medium, Luxton deftly engages with multifaceted notions of female identity, earning her recognition as a contemporary artist who, much like Cindy Sherman, skillfully navigates diverse narratives and perspectives.Often triggered by something she has read, Luxton’s work delves into a variety of histories. Most of her projects start with an extensive research period where she looks for literary, artistic, botanical, animalistic and musical references, as well as exploring colour, texture, and objects. Using her own human features — eyes, nose, lips and hands — as a base for her compositions, she constructs otherworldly narratives, populated by butterflies, flowers and clouds. Inspired by Italian and Northern Renaissance portraits, all the components of her images play with classical symbolism. A way to interpret her portraits is through her carefully crafted titles and accompanying poems, such as Unravel, 2023.
Luxton performs detailed narratives for the camera. Her images first exist as a sculpted set, where the model, herself, shape-shifts through cosmetics, props and light. And all ornamentations complement each other. An immersive quality, or element, is achieved thanks to post-production digital technology, leaving the viewer wondering if they are looking at a painting or photography. Luxton states that she “creates canvases thanks to photography”. More recently, as a way
back to gallery
