{"id":343047,"date":"2020-09-11T00:00:00","date_gmt":"1970-01-01T00:00:00","guid":{"rendered":"https:\/\/numero.com\/non-classifiee-2\/lucas-arrudas-imaginary-landscapes\/"},"modified":"2024-06-18T16:11:07","modified_gmt":"2024-06-18T14:11:07","slug":"lucas-arrudas-imaginary-landscapes","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art-design\/lucas-arrudas-imaginary-landscapes\/","title":{"rendered":"Lucas Arruda\u2019s imaginary landscapes"},"content":{"rendered":"\n                    <figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a211e563be89&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a211e563be89\" class=\"wp-block-image size-medium-large wp-lightbox-container\">\n                    <img decoding=\"async\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/lucas-arruda-deserto-modelo-peintre-bresil-william-turner-armando-reveron-mendes-wood-dm-numero-magazine3-1.jpg\" alt=\"\" class=\"wp-image-1568\" \/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button>\n                    <figcaption class=\"wp-element-caption\">&#8220;Untitled&#8221; (2019), de Lucas Arruda, tir\u00e9 de la s\u00e9rie &#8220;Deserto-Modelo&#8221; \u00a9 galerie Mendes Wood DM et galerie David Zwirner<\/figcaption>\n                    <\/figure>\n                    \n                    <p><strong>The work of Brazilian artist Lucas Arruda<\/strong> is very specific and serial,&nbsp;consisting in small-format paintings grouped under the generic title&nbsp;Deserto-Modelo, a term he borrowed from the Brazilian poet Jo\u00e3o Cabral de Melo Neto and which he uses for all his exhibitions. This &ldquo;model&rdquo; of an imaginary landscape serves as a basis for all his paintings, which run the range from rep- resentation to abstraction and fre- quently take the form of small pano- ramas in which a horizon can be glimpsed, even if it often merges with the ocean, the beach or the sky. Sometimes, though, his work be- comes more figurative, such as when he depicts the vegetal thickets of an imaginary jungle. Arruda&rsquo;s paintings are difficult to date and the places they represent hard to iden- tify, but so much is our relationship to landscapes conditioned by our memories and by the history of art that they produce in us a strange impression of d\u00e9j\u00e0-vu &ndash; like with the work of Armando Rever\u00f3n, a Venezuelan painter whom Arrudahas studied in depth, or, nearer to home, Turner perhaps. Viewing Arruda&rsquo;s exhibitions is a powerful, contemplative and, dare one say, luminous experience, since light is at the heart of his work &ndash; sometimes he even goes so far as to replace his paintings with slide projections.<\/p>\r\n\r\n<p>&nbsp;<\/p>\r\n\r\n<p><strong>Num&eacute;ro: How did your background influence you?<\/strong><br \/>\r\nLucas Arruda:&nbsp;I was born and grew up in S\u00e3o Paulo, Brazil&rsquo;s big- gest city, which exhibits all the chaos inherent to giant metropolises. As a counterpoint to this urban tension, I&rsquo;ve always managed to escape to Barra do Una, where my father and his husband have a small house in the middle of nature. I think these getaways very strongly marked my relation to observation. In Barra do Una I developed strong ties to the tropical forest and to the beach, both of which were united in the same place at the same time.<\/p>\r\n\r\n<p>&nbsp;<\/p>\r\n\r\n<p><strong>What do you remember about your earliest encounters with art?<\/strong><\/p>\r\n\r\n<p>One of the first exhibitions I remember was Jo\u00e3osinho Trinta at a SESC cultural centre in S\u00e3o Paulo when I was six. Trinta was an emblematic figure of carnival, parade director at the samba schools in Rio in the 80s. I was fascinated by the maze-like layout of the show, and by the multitude of colours and materials. It was a totally immersive experience, and I went back to see it again and again.<\/p>\r\n\r\n<p>&nbsp;<\/p>\r\n\r\n<p><strong>When did you realize you wanted to be an artist?<\/strong><br \/>\r\nIt&rsquo;s difficult to say exactly when, because there was no decisive moment &ndash; everything just happened naturally. I&rsquo;ve always had trouble concentrating for long, and drawing was the only activity that allowed me to really concentrate. Over time it became a practice that brought me closer to myself, a way of organizing my thoughts, and as such it became indispensable. Today, when I look at some of my earliest drawings, I see many aspects of my childhood in them. I really learned to dominate the tools of drawing so that I could express myself. It&rsquo;s a very deep process which evolved towards painting, and I still feel it&rsquo;s something urgent for me.<\/p>\r\n\r\n<p>&nbsp;<\/p>\r\n\r\n<p><strong>What art were you looking at when you were younger, and what are you looking at now?<\/strong><\/p>\r\n\r\n<p>Again, it&rsquo;s difficult to reply precisely because I never stopped looking at paintings and I always mix up my references. My interest goes from one thing to another and often everything becomes entangled. But Armando Rever\u00f3n is an artist I&rsquo;ve always been drawn to.<\/p>\r\n\n                    <figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a211e563c20d&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a211e563c20d\" class=\"wp-block-image size-medium-large wp-lightbox-container\">\n                    <img decoding=\"async\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/lucas-arruda-deserto-modelo-peintre-bresil-william-turner-armando-reveron-mendes-wood-dm-numero-magazine5-1.jpg\" alt=\"\" class=\"wp-image-1568\" \/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button>\n                    <figcaption class=\"wp-element-caption\">&#8220;Untitled&#8221; (2018), de Lucas Arruda, tir\u00e9 de la s\u00e9rie &#8220;Deserto-Modelo&#8221; \u00a9 galerie Mendes Wood DM et galerie David Zwirner<\/figcaption>\n                    <\/figure>\n                    \n                    <p><strong>Do you consider yourself a painter? Does the term still have meaning for you in 2020?<\/strong><br \/>\r\nI consider myself an artist who works with paint, the technique with which I feel the most intimate connection. Sometimes painting ends up influencing the whole of my work, because I always ask myself questions from a pictorial point of view, for example about light, or about references from the history of painting.<\/p>\r\n\r\n<p>&nbsp;<\/p>\r\n\r\n<p><strong>When and why did you start introducing slide projections and light installations into your work?<\/strong><\/p>\r\n\r\n<p>When I took art-history classes, I was fascinated by the projection equipment. I never tired of observing how the light, projected from the rear of the machine, traversed the images&nbsp;on the slide. The process is fairly similar in some of my pictures, where I will look to find luminosity on the canvas by taking paint away to reach the light that comes through from underneath. After a while in the studio I began working with little slides whose very restricted acetate surface meant I lost complete control of the gesture, which led me to a new way of painting. The light installations came out of my experience with projection equipment.<\/p>\r\n\r\n<p>&nbsp;<\/p>\r\n\r\n<p><strong>How do you choose the colours for your canvases?<\/strong><br \/>\r\nRight now I&rsquo;m thinking a lot about colours that are not easy to define, not entirely one thing or the other, which remain in a more cerebral dimension &ndash; the colour you must think of to summon its presence. I&rsquo;m also interested in washed-out colours, the palette of greys and beiges&#8230; But the most important thing is the relationship between the colours, not so much the colours in themselves.<\/p>\r\n\r\n<p>&nbsp;<\/p>\r\n\r\n<p><strong>Can you say something about your formats?<\/strong><br \/>\r\nFor landscape paintings, I mostly work with small formats. I feel that a landscape carries within it the desire to burst out of its limits, a sensation of space that creates a tension with the restricted size of the canvases. The tropical forest always works better on a square format, while the monochromes can adapt themselves to larger surfaces with more materiality. Over time I think my pieces have ended up finding the sizes and proportions that suit them.<\/p>\r\n\r\n<p>&nbsp;<\/p>\r\n\r\n<p><strong>How do you display your work? To what extent is the hang an important way of getting a message across?<\/strong><\/p>\r\n\r\n<p>It always depends on the space and on other outside factors, but at the end of the day it&rsquo;s about creating a rhythm. It&rsquo;s like building a score from a sequence, from colour, from sizes and from distances.<\/p>\r\n\r\n<p>&nbsp;<\/p>\r\n\r\n<p><strong>Have you ever felt close to an art movement or group?<\/strong><br \/>\r\nI&rsquo;ve never belonged to an art movement, but I&rsquo;m a member of a generation of artists who are working in a socio-political context that is particular to Brazil, and I believe my work is in part a result of that.<\/p>\r\n\r\n<p>&nbsp;<\/p>\r\n\r\n<p><strong>What&rsquo;s your next project?<\/strong><\/p>\r\n\r\n<p>I&rsquo;d like to take part in a professional boxing fight.<\/p>\r\n","protected":false},"excerpt":{"rendered":"<p>The work of Brazilian artist Lucas Arruda is very specific and serial,&nbsp;consisting in small-format paintings [&#8230;]<\/p>\n<p><a class=\"btn btn-secondary understrap-read-more-link\" href=\"https:\/\/numero.com\/en\/art-design\/lucas-arrudas-imaginary-landscapes\/\">Read More&#8230;<span class=\"screen-reader-text\"> from Lucas Arruda\u2019s imaginary landscapes<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":343003,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[78,76,73],"tags":[],"class_list":["post-343047","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-en","category-art-design","category-non-classifiee-2"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Lucas Arruda\u2019s imaginary landscapes - Num\u00e9ro<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/numero.com\/en\/art-design\/lucas-arrudas-imaginary-landscapes\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Lucas Arruda\u2019s imaginary landscapes - Num\u00e9ro\" \/>\n<meta property=\"og:description\" content=\"The work of Brazilian artist Lucas Arruda is very specific and serial,&nbsp;consisting in small-format paintings [...]Read More... from Lucas Arruda\u2019s imaginary landscapes\" \/>\n<meta property=\"og:url\" content=\"https:\/\/numero.com\/en\/art-design\/lucas-arrudas-imaginary-landscapes\/\" \/>\n<meta property=\"og:site_name\" content=\"Num\u00e9ro\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/numeromagazine\/\" \/>\n<meta property=\"article:published_time\" content=\"1970-01-01T00:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-06-18T14:11:07+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/thumb-lucas-arruda-deserto-modelo-peintre-bresil-william-turner-armando-reveron-mendes-wood-dm1-1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1600\" \/>\n\t<meta property=\"og:image:height\" content=\"790\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Anicia\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@NumeroMagazine\" \/>\n<meta name=\"twitter:site\" content=\"@NumeroMagazine\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Anicia\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"7 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"NewsArticle\",\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/art-design\\\/lucas-arrudas-imaginary-landscapes\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/art-design\\\/lucas-arrudas-imaginary-landscapes\\\/\"},\"author\":{\"name\":\"Anicia\",\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/#\\\/schema\\\/person\\\/7a3c14db859a23a77d9eb50bc2910230\"},\"headline\":\"Lucas Arruda\u2019s imaginary landscapes\",\"datePublished\":\"1970-01-01T00:00:00+00:00\",\"dateModified\":\"2024-06-18T14:11:07+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/art-design\\\/lucas-arrudas-imaginary-landscapes\\\/\"},\"wordCount\":1171,\"publisher\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/art-design\\\/lucas-arrudas-imaginary-landscapes\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/numero.com\\\/wp-content\\\/uploads\\\/2024\\\/06\\\/thumb-lucas-arruda-deserto-modelo-peintre-bresil-william-turner-armando-reveron-mendes-wood-dm1-1.jpg\",\"articleSection\":[\"Art\",\"Art &amp; 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