
WINSING ART PLACE
Brazilian painter Lucas Arruda is known for his 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.”
This exhibition will focus on Lucas Arruda’s long-developed series Deserto-Modelos, of which the title echoes a phrase by the Brazilian poet João Cabral de Melo Neto. In Arruda’s interpretation, the “Models of Desert (Deserto-Modelos)” does not refer to any real place but to an imagined state of landscape which is closer to a projection of the artist’s inner condition. The desert symbolizes a state that is devoid of events and temporal markers. This near emptiness closely aligns with Arruda’s practice of repeatedly working with similar compositions and pursuing the same line of inquiry over a lengthy period of time.
Arruda’s paintings are largely created in the studio from his memory. The images do not arise from direct observation of nature, but from visual impressions that have settled through the passing of time. His canvases often feature a dim and brooding sky, which is occasionally pierced by an extremely thin horizon line, or a forest reduced almost to a compressed silhouette. These elements do not form a narrative or point to any specific site. Rather, they function as structural cues that keep the image suspended in a state of indeterminacy.
Lucas Arruda has also noted, "Light is at the centre of my work,” he says. “It is the movement. Light is what guides my painting, creating intensity and, eventually, spaces that are neither abstract nor figurative." Light occupies a central position in Arruda’s creation and can be the key for us to understand his works. For Arruda, light is not a means of describing a scene. It is more like a form of movement, a condition that guides the emergence of the image. In the process of painting, light is not determined from the outset. It gradually comes into view through the accumulation, erasure, and revision of layers of paint. The intensity of the image is thus built through this process.
Painting on a small scale is a crucial method in Arruda’s practice. Within a limited pictorial field, every brushstroke becomes indispensable. The materiality of paint is amplified at this scale, allowing variations of light to appear more concentrated and denser. Although modest in size, these works generate highly taut internal structural relationships. Through the patient handling of paint and light, the image is gradually drawn out of chaos and brought into focus, maintaining a restrained and attentive state.
Through the repeated working of structure, scale, and light, Arruda’s painting gives rise to a spatial condition that is neither abstract nor figurative. In this way, landscape becomes an ongoing practice concerned with time, repetition, and inner experience.
