I was first introduced to Lucas Grogan‘s incredible artwork when I stumbled across this great little video of him painting an amazing mural in Hosier Lane, Melbourne. It’s such a brilliant, striking, graphic work, and it’s incredible to watch Lucas paint so freely on this scale – the forms and patterns just seems to flow from his hand without the constraints of a pre-determined design. Amazing! I also love the irreverent and ambiguous quotes plastered across Movida‘s exterior wall (another pic below) – these are sourced from text messages, Rupert Murdoch quotes and newspapers! (I am now trying to figure out which ones came from Rupert Murdoch..!?’)
Lucas grew up in Maitland NSW, studied in Newcastle, and now lives in Melbourne. He draws inspiration from a myriad of influences – his intricate geometric linework often references islamic motifs and patterns, his needlepoint and embroidered works seem to pay homage to Tracey Emin‘s provocative patchwork quilts, however what is probably most recognisable to Australian audiences is Lucas’ appropriation of traditional Aboriginal painting in some works.
Of course, for a white Australian artist, this is an area fraught with controversy. Whilst still at uni, an exhibition of Lucas’ early works in Newcastle garnered significant attention from the media and polarised audiences. Curiously, when Lucas moved to Melbourne in 2009, and started working with rich indigo blues rather than black and white tones, the criticism ceased. Interesting! Lucas’ maintains a strong interest in aboriginal artwork, and acknowledges the influence indigenous art has had on his work. He goes into a little more detail on this subject below!
Aside from the cultural, political and social themes in his work, what can’t be overlooked is the intricacy, beauty and sheer skill inherent in each of Lucas’ paintings. Each piece is so incredibly layered, detailed and dense – it’s a shame to view them on such a small scale here – do check out his website for more pics!
Massive thanks to Lucas for his time and such thoughtful responses, and all the amazing pics – do check out his work at Pieces of Eight in Melbourne for one more week!
Lullaby Islands – new works by Lucas Grogan
Pieces of Eight
28 Russell Place
Until October 1st 2011.
Tell us a little about your background – what path led you to fine art, and to working with themes of cultural isolation vs. inclusion ?
I’m from Maitland NSW, and I think it’s pretty safe to say there wasn’t a lot going on art related there. I was the kid who sneaked black felt-tip pens out of my parent’s bags to draw with. I enrolled at the University of Newcastle studying BFA Fine Art , which ended up being a bad fit, and I did very poorly. Took me three attempts to pass first year photography and I failed second year drawing twice. Though by the end of my first year at uni I had three casual jobs in art galleries, two in Sydney and one at Newcastle Art Gallery. I missed a lot of uni during this time, however catching the two and half hour train between Newcastle and Sydney meant that I had a lot of time to draw.
I’ve always been interested in the ‘other’ and pushing the limits of what is socially acceptable. Maitland and Newcastle were pretty ‘white’ places, so as a point of difference, I was always researching different cultures and different places. I was interested by the demarcations, prejudices and collisions between competing and/or colliding cultures, and knew I wanted to create work about these problems.
My work has always been irreverent, political and laden with sexual themes and scurrilous humour. I try to make work that combines visual elements which are not usually associated with one another, and highlight the similarities, not the differences.
I began to develop this greater metaphor of the ‘Island’ within my work. For me, an island acts as both a paradise and as a prison. I find it fascinating that maintaining a unique cultural identity often also means maintaining a distance from encroaching neighbours.
In this day and age, where information is flying around left, right and centre thanks to the ease of travel and the internet, it seems illogical to attempt to limit this interchange of cultures. But also my Island theme references the John Donne quote “no man is an island entire of itself”. At times we all as individuals seek our own space apart from others, where we can do and say as we please, but we must also participate on some level with the immediate world around us.
Where might we have seen your work?
I have recently completed a project, Lullaby Islands for Pieces of Eight’s window on Russell Place in the city – I’ve never made sculpture, so it was a great opportunity to push myself into another realm.
Earlier this year Movida and Citylights Projects asked me to create a huge mural on Hosier Lane. I had not made a large scale work before though it was too good of an opportunity to say no to. It took me three solid thirteen hour days to complete, it was so exhausting, and the text were sourced from text messages, Rupert Murdoch quotes and newspapers.
Apart from that, I had a solo exhibition earlier this year called Backchat at Until Never (2011), and another solo show called ‘Islands’ last year at Seventh Gallery on Gertrude St. I’ve been in a few group shows here and there, and had a studio residency at Blender Studios when I first arrived in Melbourne two years ago.
Also earlier this year I had a solo show called BLACK & BLUE at Iain Dawson Gallery in Sydney, and was included in a group exhibition at the Cat Street Gallery Hong Kong in August.
What has been a favourite recent project, artwork or exhibition?
We Covet is the major piece from The Lullaby Islands project at Pieces of Eight. It is in two shield-like pieces with a man in each cradling or clutching a series of gold ink, acrylic and enamelled patterned rings. Both men are wary of one another, unsure whether to share their islands with the other. It’s actually a very quiet piece for me, but one I’m really proud of. The concept of work comes from the phrase “we covet first what we see”.
Whilst your work often references motifs from various cultures and countries, the pieces which seems to draw most attention are those which reference traditional aboriginal artwork. What drew you to working in this style initially, and how do you feel about the controversy which sometime arises as a response to this work?
Whilst still at university I worked a couple of days a week for Annandale Galleries Sydney, and it was there I first saw the work of Lofty Bardayal Nadjamerrek. I was shocked. My knowledge of indigenous art up until this time was fairly basic. I thought it mainly consisted of dot paintings from the central desert. But, upon seeing Nadjamerrek’s work I immediately recognised the similarities in our style. Those early works of mine you’ve described were first exhibited at the student gallery in Newcastle and the response was polarising. They were met with both criticism and praise. In fact, at one point I was actively warned off pursuing the aesthetic. From that exhibition alone it was remarkable how many artists made comment to me about a subject they had often thought of pursuing but were unsure how.
Eventually after being included in the safARI Sydney exhibition in 2008 the controversy escalated. I was still a student in my final year and didn’t know how to best handle the ever growing scandal that at times resulted in threats. I got kicked out of prize shows and group shows and eventually decided to re-address the issue. Upon moving to Melbourne in 2009 I switched my drawings from being black based to blue based and the criticism ceased. Whilst this was an interesting and challenging time, my practice has since moved on and continues to evolve. There were a myriad of reasons why I chose to pursue the aesthetic in the first place but my core belief has remained fairly unchanged since the beginning. To not acknowledge the influence indigenous art has on me personally, and on the Australian arts community seems like ignoring the elephant in the room. The appropriation of indigenous art and design is an ethically complex discussion. I am more than aware that within Australia this form of appropriation is historically and politically loaded, and is intrinsically tied to the destructive legacy of European settlement. And it is for these reasons, these conflicting agendas that I think it’s important to engage in the dialogue.
What does a typical day in the studio involve for you?
Starting early, usually on a Monday or Tuesday only. Coffee, loud music, coffee, listening to the news and coffee. I have tried in the past to work in a studio apart from where I live, but always found it more distracting and eventually I ended up resenting the space. So I work from home, taking over the living room. I rarely do any sketches, instead I just start. I figure, why do the work twice? I’m currently creating a new needlepoint quilt, which takes much longer than usual to create, so there is fabric and thread all over the place at the moment.
Which other artists or creative people do you admire?
Lofty Bardayal Nadjamerrek, Liam Benson, Francesco Clemente (it was his self portrait with owls that really made me want to become an artist), Juan Davila, Belinda Howden, Brian Jungen, Terence Koh, John Mawurndjul, Alasdair McLuckie, Mike Parr and Louise Weaver.
What would be your dream creative project?
I’ve managed in the last year or so do some really challenging and fun projects and collaborations. Album and record artwork commissions for Husny Thalib, and Hammocks and Honey. I was invited to create a huge mural on Hosier Lane. And next year my collaboration with Sydney based fashion label RITTENHOUSE will be released. I love to collaborate on new projects that compliment my exhibition based art practice.
What are you looking forward to ?
I’ve a solo exhibition at MOP Projects in Sydney in November called PRIVATE ISLAND, which comprises of a number of needlepoint quilts. The last is nearly finished and I’m really looking forward to it. Plus getting my hands on some of the RITTENHOUSE X LUCAS GROGAN pieces!
Your favourite Melbourne neighbourhood and why?
I love North Melbourne. It’s quiet, spacious, and green and there is a great mix of people living here.
Where do you shop in Melbourne for the tools / materials of your trade?
Bravo Printing, Lincraft and Spotlight for all my textile works. Eckersley’s and Senior Art Supplies for everything else. Though I do purchase most of my supplies online in bulk.
What and where was the last great meal you ate in Melbourne?
Gigi Baba Smith St Collingwood. I love everything there – but especially the peas in olive oil and coriander (I think that’s what in them). I just like that you can tell the waiter how hungry you are and they bring you out the most delicious food. But also last weekend I made a mean roast lamb.
Where would we find you on a typical Saturday morning?
Saturday morning? On my way to work unfortunately. Sunday mornings though I’ll be out on my veranda in the sun listening to Asiapop on SBS, having breakfast and drinking coffee with my boyfriend.
Melbourne’s best kept secret?
Murray White Room – awesome exhibition space with terrific artists.