Sarah Lucas’ practice is characterized by irreverent humor. By creating visual puns and vulgar euphemisms. Between sculpture, photography and installation. Her work evokes the body in its physical, cultural and psychic dimensions. In his compositions, Lucas often uses everyday objects as a substitute for the human body. The furniture. The food. The tabloid newspapers. Tights. Toilets and cigarettes are usually associated with slang and crude genital innuendo. These elements intertwine and transform into visceral and anthropomorphic representations of the limbs. Breasts and phalluses; shapes that are embodied in bronze sculptures reflecting light. Also, in plaster casts taken directly from the models.
In order to probe representations of gender and national identity, Lucas also uses familiar references to postwar and contemporary British life. By appropriating and exhibiting obscene gestures that reveal the absurdity of sexual stereotypes. She subverts the masculine gaze and the tropes of what is considered feminine or masculine. In the same vein, his provocative self-portraits invoke the sexual dynamics of the observer and the observed. Lucas’s work pushes the sculptural possibilities of bodily representation. It challenges the way we understand and relate to inherent aspects of the human experience. Such as sexuality, sickness and death.