The exhibition does not disappoint. With its variety—from a group of paintings in muted grey and white (an apparent nod to Gordon Smith) to fluorescent graffiti-inspired tableaux to cheeky sculpture made of vintage 1946 US Army jockstraps—Lukacs’ sense of inventiveness shines through.
Lukacs’ exploration of the medium of painting continues here unabated. In his “grey” series, he brushes, drips, pours and scrapes paint in an effort to make it animate. In a video installation—a slow-motion loop of dripping paint—he tries to capture the very lifeblood of painting in the moment before it becomes static. It’s an animistic ballet of paint, one infused with the same energy that has always been present in his work.
Throughout these and other pieces, there’s a visceral sense of movement that speaks to what Lukacs calls his “tantric” process, a kind of Pollock-inspired ritual.
“I’m like a snake,” says Lukacs in this in-depth interview of his fresh venture into the abstract, “that every so often needs to shed its skin.” Listen in for more revelations on how this 30-year veteran of the Canadian art scene is viewing his new (or renewed) directions.