“A hand can tell a story. When I first looked at these works I immediately thought of the work of some of the old masters of the classical period. Michelangelo was a master in the art of painting hands. If you were to observe only the hands of the figures embellishing the ceiling of the Sistine Chapel you would see that these hands express as much as do the faces. The most well known image is, of course, the gesture of God towards Adam. Two hands that reach out to one another and which almost, but not quite, touch. Another thought was of the many medieval portraits of the Virgin Mary, those where she is ascending into heaven with outstretched arms. But also of those where she is in prayer, or surrounded by others and reaching out to them or they to her. One work is actually entitled ‘Prayer’ and that word has been chosen with some reason. As in her earlier works Lucy combines time, space and the human figure into something depicting a short moment in time that takes place in the context of a greater whole. Just as in the works of the old masters, Lucy’s hands are carefully painted with anatomical accuracy and an eye for detail. But the classic drama of a biblical drama is absent. It is a moment captured in time, a hand attempting to tell a personal story which has something universal at its heart. It is the story of an artist who remembers a moment, who is awaiting something, who paints an experience which tells a story. Lucy herself speaks of her paintings of hands as her ‘self portraits’. The hand itself can tell something about a person, it can express something, it can show a feeling or an attitude. But the hand is more than those things. And these hands tell a story. They are open, they seem to float above a warmly coloured or a grey background. They tell a story but show only a fragment of that story. Just as in a portrait, where only a part of a person is seen, here we see only a hand, the subject of the work being, for the major part, invisible to us. Another thought arose of a different order. The hand is involved with the making of the painting itself. It is the hand which stretches the linen, which holds the brush, which hangs the work.”​

– Walter van der Cruijsen, director of the Temporary Art Centre in Eindhoven.