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Lucas Arruda: Deserto-Modelo

Lucas Arruda: Deserto-Modelo - Lucas Arruda

Lucas Arruda: Deserto-Modelo

Brazilian painter Lucas Arruda's (b. 1983) paintings are intricate, meditative compositions that blur the boundaries between mnemonic and imaginative registers. His evocative landscapes are more a product of a state of mind than depictions of particular locales. As he has noted, "The only reason to call my works landscapes is cultural--it's simply that viewers automatically register my format as a landscape, although none of the images can be traced to a geographic location. It's the idea of landscape as a structure, rather than a real place."

Will Chancellor is the author of the novel A Brave Man Seven Storeys Tall (2014) and is currently writing an alternate history of the Soviet space program titled The Meaning of Certain Dreams.

Barry Schwabsky is an art critic for The Nation and co-editor of international reviews for Artforum. He has published several books of criticism, of which the most recent are The Observer Effect: On Contemporary Painting (2019), Landscape Painting Now (2018), and The Perpetual Guest: Art in the Unfinished Present (2016), as well as of poetry.

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Brazilian painter Lucas Arruda's (b. 1983) paintings are intricate, meditative compositions that blur the boundaries between mnemonic and imaginative registers. His evocative landscapes are more a product of a state of mind than depictions of particular locales. As he has noted, "The only reason to call my works landscapes is cultural--it's simply that viewers automatically register my format as a landscape, although none of the images can be traced to a geographic location. It's the idea of landscape as a structure, rather than a real place."

Will Chancellor is the author of the novel A Brave Man Seven Storeys Tall (2014) and is currently writing an alternate history of the Soviet space program titled The Meaning of Certain Dreams.

Barry Schwabsky is an art critic for The Nation and co-editor of international reviews for Artforum. He has published several books of criticism, of which the most recent are The Observer Effect: On Contemporary Painting (2019), Landscape Painting Now (2018), and The Perpetual Guest: Art in the Unfinished Present (2016), as well as of poetry.

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