| At first glance, Robert Lucander’ paintings belong in the tradition of Pop, and in particular, that of the first works by Andy Warhol. Like them, their subjects come from advertising illustrations and, more generally, media images. Certainly, their appearance matches this aesthetic, with its clear graphics, flat solid color, effects of symmetry, and gaps. All suggests that motifs were stencilled on, as well as areas drawn only in pencil. Sometimes the ground is visible, making the forms stand out all the more. The wooden support, which heightens the dryness of the paint, removes any superfluous emotional connotations. |  |
Anne Malherbe
At first glance, Robert Lucander’ paintings belong in the tradition of Pop, and in particular, that of the first works by Andy Warhol. Like them, their subjects come from advertising illustrations and, more generally, media images. Certainly, their appearance matches this aesthetic, with its clear graphics, flat solid color, effects of symmetry, and gaps. All suggests that motifs were stencilled on, as well as areas drawn only in pencil. Sometimes the ground is visible, making the forms stand out all the more. The wooden support, which heightens the dryness of the paint, removes any superfluous emotional connotations.
The works all present one or several figures whose clothes and posture suggest that they belong to the media world, which the painter has presumably erased (fashion photos, politicians in mid-speech, among others). Sometimes the context is more vague: sulking teenagers, a couple facing toward the beholder, a figure looking to one side. Their posture is not meant to be especially enigmatic, and yet, since we don’t know the reasons behind it, they make us ask questions.
It is precisely in this distance with regard to their original context that these images differ from Pop Art. This gap effectively frees the figures from the stereotype imposed on them by their commercial or media function, allowing their emotional qualities to come across. Sometimes the treatment of the ground or the use of watercolor on paper (instead of acrylic on wood panel) heightens the dramatic aspect of the work.
Where do these figures come from? What makes them act as they do? The mystery that comes from these compositions is ultimately that of painting, which is capable of wrestling these figures from their status as images, and making the works into the theater of a private drama.
