
[Flora Lu](https://www.cohart.com/floraluartlondon0320/profile) (b.2000) is an Artist and Printmaker based in London, United Kingdom. Specializing in fine-line, watercolor, pastels, oil painting and intaglio printmaking. Her work explores storytelling, cultural narratives, relationships, as reflecting on the personal experiences from her life in London, by using her distinctive techniques to communicate and engage with audiences. Through a thoughtful blend of traditional and contemporary approaches, Flora seeks to convey meaningful narratives that bridge culture, place, and perspective.

Flora’ s work has been exhibited at numerous galleries and prestigious art institutions across the UK within her first year after graduation. Her exhibitions include the Hampstead Art Society, Royal Scottish Society of Painters in Watercolor, Green & Stone Gallery, Royal Society of British Artists, Royal Birmingham Society of Artists, Chelsea Art Society, Woolwich Contemporary Print Fair, and the Royal Society of Painter-Printmakers. 

She was longlisted for the Jackson’s Art Prize 2025, and her work has also been exhibited internationally in Hong Kong and New York. Her self-published illustration book is part of the permanent library collection at the University of the Arts London.


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#### Tell us about your artistic journey

I’m Flora Lu, an artist and printmaker living in London, United Kingdom. My journey began with studying BA (Hons) Illustration and Visual Media at London College of Communication, University of the Arts London. From a very young age, when I was in junior school, I developed a strong interest in illustration and decided to pursue it as my pathway into art college. 

The environment at our college leaned more towards the commercial side, which often led students into the design industries. For a long time, I felt confused about where I stood between traditional and digital. But in my final year of the undergraduate course, I slowly began to reclaim my passion, as we were finally allowed to create work in our preferred mediums, so long as we submitted everything on time.

In the final month before handing in our final submission, one of my tutors suggested I try the printmaking workshop. He thought my hand-drawn artwork would be even more impressive when translated through printmaking techniques. At first, I followed his advice simply to complete the task. But as I spent more time there, rolling the etching press each day in the workshop, something inside me began to wake up. A deep passion for fine art and traditional processes returned, and the years of confusion just disappeared. That’s when I made the decision: to stand with traditional art. Because this is part of who I am. 

On the private view night of our degree show last year, that same tutor spoke to me with genuine encouragement and belief: “Flora, I'm hoping that you can continue with your hand-drawn artworks and printmaking after graduation. Your artwork is approaching gallery level, and I can see your potential. I promise you will become an impressive artist and printmaker in two years from now, or even within one year. Everything is possible. Trust me, and keep going.”

That’s how everything truly began. It wasn’t loud, just a quiet promise, and the inner choice of art. As time moved forward, that promise became part of my artistic journey.

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#### What first drew you to make art?

Those days in the art classroom, while I was in junior school, art materials and papers were always messy everywhere. Music played in the classroom, and I drew casually with my art teacher, or he shared ideas from his sketchbook. In those days, I found my interest in illustration. Art was the one thing that made me feel calm. As I grew up and moved into the stage of studying in art college, art officially became part of my trajectory, and it constructed a part of me that has taken narrative as the main form of my artworks from the beginning.

The first thing that drew me to printmaking was a request from my tutor. Moving forward with time, the process of etching my plates and pressing the prints became a ritual. I just couldn’t stop printing — the practice of printmaking techniques is fascinating. There are so many ways to make a print, and no two editions are the same. The mornings in the printmaking studio are always quiet, with only the sound of the etching press around you. That atmosphere always makes me feel focused and relaxed. The newly finished print under the blanket of the etching press feels like a small ceremony waiting for you to uncover.

Painting allows me to extend the narrative into part of my exploration of traditional art. At first, as an attempt, I bought some watercolor from the art material store and came back to integrate it with my technique. Later on, I found that this medium seemed to be very suitable for me. After that, I had my first watercolor piece that made me feel truly satisfied. That artwork was selected for the Royal Scottish Society of Painters in Watercolor 144th Annual Exhibition, which was really beyond my expectations at the time, so I decided to continue with watercolor.

I have also re-explored other forms in painting: soft pastels and oil painting, each of which brings different experiences. My soft pastel paintings were made in Margate and Whitstable, the coastal towns not far from London. I sat aimlessly on the beach and painted the colors of the sea and the sailboats. Later in London, I came across some oil canals that left an impression on me, which made me pick up the brushes again — and those paints are no longer just a collection of tubes.

No matter the medium, painting always brings me peaceful feelings. I could sit in front of my easel for hours, even until late at night, just focusing on adjusting the details and textures in my painting.

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#### What inspires your work, and where do you find your ideas?
Much of my inspiration comes from the quiet undercurrents of my life in London, the small shifts in atmosphere, gestures, or unspoken dynamics that stay with me. Lately, my thoughts have circled around the complexities of human connections, intimacy, distance, emotional restraint, and how these relationships play out across different scenes or personal contexts. These themes are gradually becoming central to my work, which often sits in the space between traditional and contemporary, never fully committed to either, but happening from both sides to explore something more internal.

They appeared with different tones in my painting and printmaking, sometimes quietly, as a gesture or an absence, other times more directly, through composition or mood. I’m not trying to offer answers, but rather to hold a space for ambiguity and reflection. Each medium allows these emotional undercurrents to surface in their own way, shifting between softness and precision, control and vulnerability.


#### What makes your artistic approach unique?
What makes my artistic approach unique is the focus I’ve carried through my journey, a quiet persistence in developing visual sensitivity and emotional tone. My practice began with a foundation in fine line drawing built over a decade, which shaped how I observe the world and how I approach form. That sensitivity has gradually evolved into something more layered: not just in terms of technique, but in the way each artwork holds a mood.

In printmaking, I’m drawn to the ritual and restraint of the process. The fine line work naturally carries into etching and mezzotint, techniques that require time, precision, and subtle tonal control. There’s something grounding about building tone through layers and carving space into the plate. It reflects my interest in stillness and the moments between actions.

In my watercolor paintings, I let the lines loosen slightly, but they still hold the composition together. Watercolor offers a softness that allows light and emotion to filter through. The combination of structure and delicacy is something I’m always exploring, to find where clarity meets atmosphere, and where technique becomes quite storytelling.

Over the past year, I’ve quietly dedicated myself to making work with consistency and care. I didn’t set out with any guarantees, just the intention to keep creating and refining my voice. I believe this steady focus has naturally opened opportunities and exhibitions to share my work more widely. The journey so far has reminded me that progress often happens through persistence, not rush, and that staying close to the practice itself is what allows the rest to unfold.

My approach doesn’t rely on loud gestures. It’s more about staying close to what’s real for me and letting my journey speak on its own terms.




#### What does a typical day in your studio look like?

My studio days usually begin by waking up naturally, without worrying about the time. I’ll get a latte or an iced flat white before I start painting beside my easel. There’s always an unfinished painting waiting for me, it stays on the easel until it’s complete, and then the hours of focus begin. Sometimes I’ll play music while I paint to set the tone. Lately, I’ve been drawn to Issy Wood’s songs, they’re full of emotion and strange moods, which somehow perfectly echo the visual language I explore in the studio.

When I’m working on my prints at the printmaking studio, the atmosphere is much quieter, peaceful throughout the day, as everyone is focused on their plates or new prints. I’m currently based at the Thames-Side Print Studio, one of the largest printmaking studios in London. The scent of ink and coffee usually marks the beginning of my day. Sometimes I’ll chat with the printmakers beside me or take a look at each other’s work. Keep printing, keep learning.

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####  How has your artistic voice evolved since you started creating?


Since I began creating, my artistic voice has gradually shifted from searching to becoming. In the early years, I was exploring different mediums and directions, unsure of where I stood between traditional and contemporary approaches. But over time, through consistent practice and reflection, I found clarity in the quiet rituals of printmaking and the layered sensitivity of painting.

My line work, once purely illustrative, has evolved into something more contemplative, forming the foundation of both my etchings and watercolors. I’ve learned to trust in the slower process and to let small observations, quiet feelings, and subtle relationships guide my practice. What once felt like an experiment now feels like a language I’ve grown into, a way to reflect the world not just as it looks, but as it feels when you pause and notice.

Exhibiting has played an important role in helping me understand how my work communicates beyond the studio. Each opportunity to share my work publicly has allowed me to observe how others connect with it, often through emotion, subtle detail, or atmosphere. Over time, these moments built a quiet confidence in my voice. Rather than chasing trends, I’ve stayed close to what feels true in my practice, and I think that consistency has allowed my work to find its own place within different exhibitions. The process of showing my work, from a small group show in the commercial gallery to the prestigious exhibitions, which has become an extension of making itself, where I continue to listen, refine, and grow.

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#### What role does experimentation play in your practice?

Experimentation is an essential part of my practice, though it doesn’t always appear loud or dramatic. For me, it often happens quietly through shifts in tone, material, or the subtle ways of layering image and emotion. In printmaking, I explore different etching and inking techniques to find new textures and depths, while still holding on to the delicacy of line. With painting, especially in watercolor and pastels, I test how softness can carry weight, and how restraint can feel intimate. These moments of experimentation help me uncover what feels right in the work, not just visually, but emotionally. It’s a slow kind of risk-taking, grounded in intuition and observation.







#### How does your cultural background or life experiences influence your work?



I’ve been living in London for six years now, and my life here has become a major influence on my work. The city’s pace, its quiet corners, the way light falls through old windows or over the surface of a teacup. all of these details shape how I observe and respond to the world around me. Over time, my work has absorbed these visual and emotional textures.

Some people have said there’s a sense of Britishness in my pieces, maybe because of the traditional undertones or the reflective, quiet mood, but there’s always something slightly different, a sense of pause or tenderness that doesn’t quite sit within any one category. I think that comes from my way of looking at things: carefully, patiently, with a focus on the atmosphere that lingers around the object or moment.



#### What's the most challenging part of being an artist?

As a young artist, one of the most difficult parts is dealing with rejection from galleries. When you're still too young to have secured a foothold in the art world, those rejection emails can sometimes feel like a denial of your artistic voice. That kind of pain was particularly intense in the beginning. I still remember when I first submitted my work to exhibitions last year, the rejection emails seemed almost constant. I cried a lot and felt completely overwhelmed, so I sent an email to my tutor expressing my confusion. He replied:

“Hi Flora, don’t worry. Part of being a professional artist is to keep trying and handle the rejections. The important thing is you continue making work. You have to make your own luck in life, and eventually it will come your way.” 

Until today, my tutor’s words stay with me, especially during late nights when I doubt myself or feel uncertain. Eventually, the emails from galleries began to change in tone: "Congratulations! We’re delighted to inform you that..." "Your work has been selected for the..." "On behalf of the society, we’re greatly looking forward to showcasing your work..." The silent persistence after rejection is the hidden story behind gallery walls.

Even now, I still receive rejection emails sometimes, despite the number of exhibitions I’ve already been part of. But I’ve learned how to handle them. My artworks have developed their own visual language and integrity, they’re simply waiting for the right moment and the right walls to belong to. I no longer write to my tutor seeking reassurance when a rejection comes in. I’m no longer chasing the number of exhibitions. I’ve entered a stage where I hope the art world can truly see and understand my artistic voice.

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####  What do you hope people feel or think when they see your work?
I hope people feel a sense of quiet observation, that moment when time slows down and something small suddenly holds meaning. Whether it's the softness in a still life, a detail in a print, or the silence between gestures in a painting, I want the viewer to pause and feel something that perhaps they didn’t expect to notice. My work doesn’t ask to be understood immediately. Instead, it invites people to spend time with it, to look closer, and to feel the layers behind each mark.

Sometimes, I embed personal reflections, moments of memory or longing, but I never dictate what people should take away. I believe that the most powerful response is when someone connects to a piece in their own way, when a feeling surfaces quietly, and lingers even after they've walked away. That’s what I hope my work can do: to create a space where thought and emotion gently meet.


#### What advice would you give to someone just starting their artistic journey?
Trust your pace, and allow yourself the space to grow into your voice. At the beginning, it’s easy to feel overwhelmed by expectations. From institutions, from the art world, or even from yourself. But the real journey begins when you stop rushing to catch up and start listening to your own rhythm.

Keep making work, even if you’re uncertain. Especially when you’re uncertain. Not every piece needs to be perfect or profound. Sometimes, it’s the act of continuing that reveals who you are as an artist. 

Understand that rejection is not a reflection of your worth or talent. It’s part of the process, not the definition of it. Learn to separate your value from validation.

An artist once said to me, “Whereas you’re at 25 and have your whole art life ahead of you, which is very exciting, you have plenty of time to make a name for yourself in the art world.” These words stayed with me. Sometimes, you just need a quiet reminder that you’re still at the beginning of something meaningful, especially as a young artist.

Find people who genuinely see you. A tutor, a peer, or someone who simply believes in your voice, their words may carry you further than you realize.

And most of all: make work that means something to you. The art world is wide, but your world, your vision, is what makes it unique. Hold on to that. Let it lead you.

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#### What excites you most about where your art is headed?
Taking part in exhibitions. I really enjoy this celebration of my achievements at the early stage of my artistic career. Walking around the gallery on private view nights, sharing thoughts with professional artists. The moment when you’re standing in the gallery as a young artist, looking at your artwork hanging on the wall, you can feel that everything is truly happening in your journey. You’ve been waiting and making art for years to bring this into reality, and slowly it becomes part of your life, moving forward with time. That kind of recognition is everything—you’re not chasing fame, you’re building your own artistic voice over time, and finally the art world starts to notice you, even if this is just the beginning.

Each step into a new exhibition brings new feelings, new chapters. There are too many memories to name, too many to write down, but I remember how it all began. This is the artist’s life that I built, through hard work, persistence, and an unwavering commitment to my craft. It’s about my own rhythm, my own space, my own voice, made visible through brushstrokes and color, etching plates and paper.

When tutors recognize your achievements, they see how your artistic path could become a future prospect for current students. You begin to carry the responsibility of guiding the next generation and showing them there’s another possibility for a life beyond the design industry. I truly love leading students and reminding them that their passion for fine art does not need to be questioned. The sparkle in their eyes after talking with you, the truth that some of them even worked harder in the printmaking studio—that explains everything. And this is more exciting than any exhibition: witnessing the journey of the next generation, and knowing that one day, some of them will also have their works exhibited on gallery walls.

These experiences shaped me, and they still do. Being an artist is lonely; not everything is exciting all the time. You have to consider so much while sitting in front of the easel or standing beside the etching press. But the exhibitions, the mentoring, and the recognition of the momentum I’ve already built, these remind me why I choose to keep going.

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Flora Lu, her journey as an Artist and Printmaker, focused on traditional and contemporary


Flora Lu: Finding Her Artistic Voice

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