Claire Luxton

Multidisciplinary Artist

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 into interpreting 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 compliment 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 to share her fantastical universe with a broader public, she has been projecting her work in public space, allowing buildings to become her canvas. As well as this, Luxton sheds light on the intricate dynamics between humankind and technology through her art, such as in The Wishing Well, 2020, which incorporates a USB plug into the figure’s collarbone. The piece establishes connections to our profound dependence on technology, offering a poignant commentary on society’s relationship with it and how it has seamlessly intertwined itself into the fabric of our lives.

Inspired by art history’s masterpieces, Luxton explores the place of humans in nature and the specificity of the female experience in society, including prejudices built around the opposition of beauty and intellect or mental health. Luxton’s themes are beauty and life, decay and death, melancholy, and romanticism.

Selected Public Art, Commissions and Exhibitions



InterContinental Sydney, Sydney, Australia.

‘Winters Breath’ installation, The Crown Estate, London, UK.


InterContinental Dubai, Dubai, UAE.

InterContinental Barclay, New York, US.

InterContinental Park Lane, London, UK.

‘Neptunia Gin by Claire Luxton’, Hendrick’s Gin.

Enfield Winter Lights, London, UK.


‘The Elegance of Worldliness’, Intercontinental Park Lane, London, UK.

‘Plant Yourself’, The Crown Estate, London, UK.

Ingrid Witt ‘Everything has to be True’ album cover.

‘Of Nectar and Dew’, L’Occitane Flagship Store, London, UK.

‘Hope’, MTArt Agency, London, UK.


Claire Luxton x Adobe Creative Cloud (Creative Spotlight).

West Coast Festival, UK.

Swarovski (RocketmanFilm)

Adobe X Badass Girl (London Workshop)

Champo (Haircare Lauch)

Adobe Photoshop (Swipe Tutorials)


The London Art Fair, Business Design Centre, London

Birmingham Royal Ballet for Peter and The Wolf 2019

Adobe Photoshop (Future of Design)

Adobe Stock (Future of Design)


JP Morgan (Paper Installation)

Royal Caribbean Cruises (New Ship Artwork)

Adobe Lightroom (Lightroom Coffee Breaks)

Feathr (Wallpaper Collection Collaboration)

McQueens( Flower Collaboration)

Sipsmith (Gin Collaboration)

‘Botanica’, Contemporary Collective Gallery, London, UK.


‘Avalon’, Tour at Rhode Island Space, UK.

‘DegreeArt’, Affordable Art Fair, Singapore.

‘London Punk Revisited’, 1 of 1, London, UK.

‘Diamonds Unleashed’, Art Basel, Miami, US.

’48 Hours’, Degree Art Gallery, London, UK.

‘Portrait 16’, Degree Art Gallery, London, UK.

Degree Art, Affordable Art Fair, Bristol, UK.

‘Artists Of The Future’, Degree Art Gallery, London, UK.

‘Diamonds Unleashed’ (Charity Auction)


‘Avalon’, Degree Art Gallery, London, UK.

Ada + Nik (Launch Installation)


Read full biography


Claire Luxton

First Bite , 2022

Archival print on dibond 50 x 63 cm (Edition of 3); 80 x 101 cm (Edition of 3); 100 x 126 cm (Edition of 3); 120 x 151 cm (Edition of 1)
Claire Luxton

Cloud 9 , 2023

50 x 66 cm (Edition of 3); 80 x 105 cm (Edition of 3); 100 x 132 cm (Edition of 3); 120 x 158 cm (Edition of 1), £7,000 + VAT
Claire Luxton

Red Herring , 2023

50 x 66 cm (Edition of 3); 80 x 105 cm (Edition of 3); 100 x 132 cm (Edition of 3); 120 x 158 cm (Edition of 1), £7,000 + VAT
Claire Luxton

Unravel , 2023

50 x 63 (Edition of 3); 80 x 101 cm (Edition of 3); 100 x 126 cm (Edition of 3); 120 x 151 cm (Edition of 1)
Claire Luxton

The Wishing Well , 2020

Archival print mounted on aluminium under matt acrylic glass (Framed) 30 x 40.5 cm (Edition of 5); 40 x 54 cm (Edition of 5); 100 x 135 cm; (Edition of 5)
Claire Luxton

Head in the Clouds , 2020

Archival print on aluminium under acrylic glass (Framed) 30 x 36 cm (Edition of 5; 40 x 50 cm (Edition of 5); 80 x 100 cm (Edition of 5); 100 x 125 cm (Edition of 3)
Claire Luxton

Hope , 2019

Archival print on aluminium under acrylic glass (Framed) 30.5 x 38 cm (Edition of 50); 51 x 64 cm (Edition of 40); 80 x 100 cm (Edition of 5); 150 x 120 cm (Edition of 5)
Claire Luxton

Jungle Juice , 2018

Archival print on aluminium under acrylic glass (Framed) 30 x 36 cm (Edition of 10); 40 x 50 cm (Edition of 10); 80 x 100 cm (Edition of 10); 100 x 125 cm (Edition of 3)


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