{"id":700996,"date":"2025-05-26T10:00:00","date_gmt":"2025-05-26T08:00:00","guid":{"rendered":"https:\/\/numero.com\/?p=700996"},"modified":"2026-04-01T11:33:06","modified_gmt":"2026-04-01T09:33:06","slug":"interview-with-lucas-arruda-in-brazil-the-painter-on-show-at-the-musee-dorsay","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art-design\/numero-art-en\/interview-with-lucas-arruda-in-brazil-the-painter-on-show-at-the-musee-dorsay\/","title":{"rendered":"Interview with Lucas Arruda in Brazil: the painter on show at the Mus\u00e9e d’Orsay"},"content":{"rendered":"\n
\"Lucas\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Lucas Arruda photographed by Vidar Logi for the cover of
Num\u00e9ro art<\/em> 16.<\/figcaption><\/figure>\n\n\n\n

Lucas Arruda, the painter celebrated at the Mus\u00e9e d’Orsay<\/h2>\n\n\n\n

\u201cThe curators and I agreed that Courbet\u2019s La Mer orageuse should be positioned closer to my works<\/em>,\u201d Lucas Arruda<\/strong> told me on the telephone. There was something characteristically precise in this request \u2013 not the entitled demand of an artist full of his own importance, but the search for a necessary dialogue across centuries.<\/p><\/p>\n\n\n\n

\u201cIt\u2019s not about prestige<\/em>,\u201d he continued, as though answering my unasked question. \u201cWhen I stood before that canvas, I saw Courbet wrestling with exactly what consumes me: that threshold where sky becomes water, not as separate kingdoms, but as transformations of the same substance.<\/em>\u201d The line went quiet for a moment. \u201cThat\u2019s the space I\u2019m trying to inhabit<\/em>.\u201d<\/p><\/p>\n\n\n\n

\"Artist\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Artist Lucas Arruda photographed by Vidar Logi in Brazil for
Num\u00e9ro art<\/em>.<\/figcaption><\/figure>\n\n\n\n

This conversation took place midway through preparations for Lucas\u2019s exhibition at the Mus\u00e9e d\u2019Orsay<\/strong>, a major event in the museum\u2019s history since this is the very first time it has programmed an artist from the southern hemisphere. Showcasing the full breadth of his oeuvre, from ethereal horizons to dense forest interiors, Qu\u2019importe le paysage<\/em>, as the Orsay exhibition is titled, speaks to the universal language of Lucas Arruda<\/a>\u2019s work and to its resonance beyond geographical boundaries. \n \n<\/p>

I couldn\u2019t help but wonder why it had taken so long \u2013 the same colonial gaze that for centuries viewed Brazil\u2019s Atlantic Forest as an infinite resource to be harvested had similarly determined who entered the canonical palace of European art history. But Lucas, as ever focused on the work itself, pivoted back to Courbet before I could wade into those political waters.<\/p><\/p>\n\n\n\n

\"Artist\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Artist Lucas Arruda photographed by Vidar Logi in Brazil for
Num\u00e9ro art<\/em>.<\/figcaption><\/figure>\n\n\n\n

Endlessly painting the Brazilian horizon <\/h2>\n\n\n\n

In 2010, when I first became acquainted with Arruda\u2019s work, the Brazilian art scene buzzed with explicitly political pieces addressing social hierarchies and historical wounds. Against this backdrop, Lucas\u2019s small, luminous horizons seemed almost defiantly introspective. In his S\u00e3o Paulo studio, a converted industrial space where everything seems calibrated with laboratory precision, works emerge under the single designation Untitled (Deserto-Modelo)<\/em>.<\/p><\/p>\n\n\n\n

This ongoing series, which comprises dozens of pieces, encompasses not only those ethereal horizons and luminous,
monochromatic fields, but also his haunting 35 mm slide projections, his occasional film pieces, and the dense Atlantic Forest paintings, which have increasingly occupied his attention. All exist within this same conceptual framework \u2013 different materialities exploring a consistent philosophical terrain.<\/p>\n\n\n\n

\"Artist\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Artist Lucas Arruda photographed by Vidar Logi in Brazil for
Num\u00e9ro art<\/em>.<\/figcaption><\/figure>\n\n\n\n

Lucas Arruda’s meditation on landscape <\/h2>\n\n\n\n

The umbrella title, borrowed from the Brazilian poet Jo\u00e3o Cabral de Melo Neto, suggests landscapes that exist simultaneously as physical reality and conceptual construct. \u201cEngineers, armed with blessed projects, managed to build an entire deserto modelo<\/em>,\u201d Lucas once quoted, his hands moving in that deliberate way they do when he\u2019s trying to articulate something essential. This desert, this ground zero of perception, acts as both subject and methodology in Arruda\u2019s practice.<\/p><\/p>\n\n\n\n

As Spanish art critic Victor del R\u00edo argues in Pol\u00edticas del paisaje<\/em>, the desert functions as the foundational figure of landscape itself \u2013 the emptied field where representation is simultaneously possible and questioned. It deactivates the symbolic importance of things, stripping away conventional signifiers to reveal perception in its most essential state. Through minimal gestures \u2013 the slightest calibration of tone, the whispered suggestion of a horizon \u2013 Arruda does not so much depict landscapes as evoke the very act of perceiving them.<\/p><\/p>\n\n\n\n

\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n

A central subject: light<\/h2>\n\n\n\n

Though well versed in art-historical lineages \u2013 tracing, for example, precise connections between Agnes Martin<\/strong>\u2019s meditative grids, Armando Rever\u00f3n<\/strong>\u2019s spectral luminosities, and John Constable<\/strong>\u2019s cloud studies \u2013 Arruda resists designation as the heir to any particular tradition.<\/p><\/p>\n\n\n\n

Once, after an hour of nuanced analysis of Turner\u2019s technique, he paused, looking almost embarrassed by his own erudition. \u201cBut these are just tools, just references<\/em>,\u201d he said. \u201cLight is my real subject. Not painters or movements, just light<\/em>.\u201d<\/p><\/p>\n\n\n\n

This wasn\u2019t evasion, but a distillation of his practice to its very essence. Years later, this remains the quote I always return to when writing about his work, not from laziness on my part but because it captures something fundamentally true about his approach, which is as quiet, precise, and elusive as the phenomena he paints.<\/p>\n\n\n\n

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Artist Lucas Arruda photographed by Vidar Logi in Brazil for
Num\u00e9ro art<\/em>.<\/figcaption><\/figure>\n\n\n\n

The artist’s studio in S\u00e3o Paulo<\/h2>\n\n\n\n

There\u2019s a quality to Lucas\u2019s studio I\u2019ve never encountered elsewhere \u2013 a monastic hush that somehow persists even when S\u00e3o Paulo\u2019s cacophony forces its way through the
windows. He works under artificial light that he adjusts with obsessive attention, as though light itself were a pigment to be mixed. His dog occasionally pads across the concrete floor, pausing to observe her master with an attention that rivals his.<\/p>\n\n\n\n

Standing in this space, watching his canvases shimmer with what I\u2019ve come to think of as the \u201cArruda flicker\u201d \u2013 that visual instability where solid forms become translucent as the eye shifts \u2013 I often find myself recalling the opening lines of Virginia Woolf\u2019s novel The Waves<\/em>: \u201cThe sea was indistinguishable from the sky, except that the sea was slightly creased as if a cloth had wrinkles in it<\/em>.\u201d What Woolf captures is exactly the perceptual threshold Arruda pursues, that moment when distinctions haven\u2019t yet clarified, when sea and sky exist as variations of the same substance.<\/p><\/p>\n\n\n\n

\"Artist\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Artist Lucas Arruda photographed by Vidar Logi in Brazil for
Num\u00e9ro art<\/em>.<\/figcaption><\/figure>\n\n\n\n

Months of work and layers of paint<\/h2>\n\n\n\n

The most striking aspect of Lucas\u2019s process is its dramatic oscillation between methodical patience and urgent intensity. His monochromatic works are built up through months of meticulous layering. He begins with pre-dyed canvases from S\u00e3o Paulo markets, matching them precisely to pigments. <\/p>\n\n\n\n

White paint is banished \u2013 \u201dIt yellows, it decays<\/em>,\u201d he once explained, with a technician\u2019s attention to chemistry. Instead, he builds luminosity through complementary colors, creating what he calls \u201cphantom light\u201d that materializes gradually before the eyes of the patient observer.<\/p><\/p>\n\n\n\n

\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Lucas Arruda,
Untitled <\/em>(2023), from the series Deserto-Modelo.<\/em>
\u00a9 Lucas Arruda. Courtesy the artist, David Zwirner and Mendes Wood DM.<\/figcaption><\/figure>\n\n\n\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Lucas Arruda,
Untitled <\/em>(2013), from the series Deserto-Modelo.<\/em>
\u00a9 Lucas Arruda. Courtesy the artist, David Zwirner and Mendes Wood DM.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

His cold encaustic technique, which involves incorporating beeswax into paint, produces surfaces that seem to breathe with the room. \u201cThe paintings are like skin<\/em>,\u201d he remarked during a studio visit last year, running his fingers along a dried surface. \u201cThey record every interaction, every trauma. Nothing is permanent<\/em>.\u201d I thought then how this might apply to the Brazilian landscape itself, scarred as it is with the traces of centuries of extraction. \n \n<\/p>

In contrast, his landscape works demand marathon sessions where he works wet-on-wet, allowing paint to dictate its own rhythms. During these moments, he becomes almost feral in his concentration \u2013 pacing, muttering, refusing interruption. This duality between slow accumulation and rapid emergence creates a visual tension that makes his works feel simultaneously ancient and newly born.<\/p><\/p>\n\n\n\n

\"Artist\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Artist Lucas Arruda photographed by Vidar Logi in Brazil for
Num\u00e9ro art<\/em>.<\/figcaption><\/figure>\n\n\n\n

The forest: a portail to an imaginary world<\/h2>\n\n\n\n

The Atlantic Forest has long featured in Arruda\u2019s canvases, though he doesn\u2019t paint from direct observation. Instead, these dense, vertical compositions emerge from memory, the forest being a place he has visited since childhood, one whose atmospheres he carries inside him. \u201cMemory is more accurate than looking<\/em>,\u201d he once told me, an approach that paradoxically connects him to the Impressionists, whose work surrounds his at the Mus\u00e9e d\u2019Orsay. While Monet and his contemporaries painted en plein air to capture immediate sensations of light, Arruda retreats inward, finding that same immediacy in remembered experience. \n \n<\/p>

\u201cThe forest is another kind of passage<\/em>,\u201d he explained. \u201cNot horizontal like the horizon, but <\/em>vertical and entangled. You don\u2019t see through <\/em>it; you see into it<\/em>.\u201d The conversation then turned to the forest\u2019s destruction \u2013 today, its surface area has been reduced to less than seven percent of its original coverage as a result of centuries of colonial and industrial exploitation.<\/p><\/p>\n\n\n\n

\"Artist\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Artist Lucas Arruda photographed by Vidar Logi in Brazil for
Num\u00e9ro art<\/em>.<\/figcaption><\/figure>\n\n\n\n

Though Lucas rarely makes explicit political statements, his refusal to fix locations or define territories in his work offers
its own quiet resistance to the commodification of land. As Victor del R\u00edo might suggest, by withholding the signifiers that would place these landscapes in identifiable territories, Arruda subtly undermines the very codes that have historically made the depiction and description of landscape a tool of power and possession.<\/p>\n\n\n\n

A week after our phone call about Courbet, he sent me a text from the Atlantic coast, where he periodically retreats from the concrete intensity of S\u00e3o Paulo. \u201cThe horizon is always different here<\/em>,\u201d he wrote. \u201cIt moves even when I don\u2019t<\/em>.\u201d In this simple observation lies the essence of Arruda\u2019s practice \u2013 the recognition that what appears most stable is actually in constant flux. His paintings register this paradox, fixing on canvas the precise moment when light becomes visible, when form emerges from formlessness, when the eye first distinguishes sea from sky. They capture not the landscape itself, but that fleeting threshold where perception begins.<\/p><\/p>\n\n\n\n

\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Lucas Arruda,
Untitled <\/em>(2024), from the series Deserto-Modelo.<\/em>
\u00a9 Lucas Arruda. Courtesy the artist, David Zwirner and Mendes Wood DM.<\/figcaption><\/figure>\n\n\n\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Lucas Arruda,
Untitled <\/em>(2023), from the series Deserto-Modelo.<\/em>
\u00a9 Lucas Arruda. Courtesy the artist, David Zwirner and Mendes Wood DM.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

1. Translation from the English by C\u00e9cile Wajsbrot (Christian Bourgois \u00e9diteur, 2008).<\/p>\n\n\n\n

\u201cLucas Arruda. Qu\u2019importe le paysage\u201d, exhibition until July 20th, 2025, at mus\u00e9e d\u2019Orsay<\/a>, Paris 7th.\r\n\u201cLucas Arruda. Deserto-Modelo\u201d, exhibition until October 5th, 2025, at Carr\u00e9 d\u2019art<\/a>, N\u00eemes.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Lucas Arruda, the painter celebrated at the Mus\u00e9e d’Orsay \u201cThe curators and I agreed that […]<\/p>\n

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