Lucas Arruda

Texts by Fernanda Brenner and Chris Sharp

Cahiers d’Art in Paris presents a solo show by Lucas Arruda and a new monograph on the artist. While all of Arruda’s works are untitled, this exhibition, like each of his solo presentations to date, is named Deserto-Modelo. Drawn from private collections, on view are intimately sized paintings of landscapes and seascapes characterized by their subtle rendition of light as well as new prints edited by Cahiers d’Art, a historic publisher that works directly with artists on limited-edition books, prints, and catalogues raisonnés. Made in the Paris workshop of American printer Michael Woolworth, Arruda’s print works are an extension of his painting practice, which focuses on near-abstract, atmospheric compositions created from memory.

Published by Cahiers d’Art with three different cover images, the monograph explores Arruda’s pursuit of light in his paintings. The book includes seventy-five illustrations and texts by Fernanda Brenner, curator and director of Pivô, an independent art center in São Paulo, and Mexico-based curator and writer Chris Sharp, as well as excerpts from a conversation between the artist and Hans Ulrich Obrist.

$45.00

Publisher: Cahiers D'Art

Artists: Lucas Arruda

Contributors: Fernanda Brenner, Chris Sharp

Publication Date: 2018

Binding: Softcover

Pages: 112

Reproductions: 75 color

ISBN: 9782851173027

Retail: $45 | £35 | €38

Status: Available

Stock: Unavailable

Stock: Out of Stock

Lucas Arruda

Brazilian artist Lucas Arruda’s (b. 1983) landscapes and seascapes are characterized by their subtle rendition of light. Painted from memory, they are devoid of specific reference points, achieving instead their variety through the depiction of atmospheric conditions. Verging on abstraction, the compositions are grounded by an ever-present, if sometimes faint, horizon line that offers a perception of distance. Intimately sized, they appear at once familiar and imaginary. Through his often evocative and textured brushstrokes, Arruda foregrounds the materiality and physicality of paint, while also recalling his genres’ historical associations with the notion of the romantic sublime.

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