The Geometry of Belgian Abstraction
Richard Lucas operated within the rigorous framework of the Belgian school, moving beyond simple representation to explore the structural possibilities of the abstract. His work does not rely on sentiment; instead, it focuses on the tension between form and space. During the 1950s and 1960s, his practice reflected the sharp, disciplined aesthetic of the era, often utilizing unconventional surfaces to ground his compositions. He was not merely a painter but a draftsman who understood how to manipulate physical matter to achieve a specific visual weight.
His technical approach was defined by a willingness to experiment with medium and dimension. He moved between the traditional application of oil on canvas and more industrial, modern explorations. This versatility allowed him to engage with the physical properties of light and shadow through various means:
Materiality and Form
The significance of Lucas lies in his ability to translate abstract concepts into tangible, physical objects. His work from the early 1960s, such as his 1963 untitled piece held in the Museum of Fine Arts Ghent (MSK), demonstrates a command over spatial relationships. He did not just depict shapes; he constructed them. This is particularly evident in his work with plexiglass, where he moved into the realm of three-dimensional sculpture, challenging the boundary between a flat image and a physical presence.
His output during the late 1950s and early 1960s shows a consistent evolution in how he handled light. Whether working with the reflective surface of an aluminum sheet or the transparency of plastic, Lucas used material to dictate how a viewer perceives a composition. His presence in the collections of museums in Brussels, Ghent, and Ostende confirms his standing within the Belgian artistic landscape of the mid-20th century.
Q&A
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