This work is accompanied by a document detailing the medium.
Exhibited Monaco, Tunnel de Monaco Boat Service, Voyage au Bout du Temps, 2012 Turin, Fondazione Merz, Dimenticare a memoria, 2013
Nicus Lucà started his artistic career as a musician and punk rock songwriter in the 1980s, before setting up the Pop Club, a virtual space that unites different disciplines, experiences and emotions, all of which are very much the essence of his creative process. Lucà believes that being an artist is a state of mind, and a way of living and producing emotions for people to share, to experience and to react to. Most of all, Lucà is interested in the process of making art, creating artworks on two levels: the meta-linguistic and the existentialistic ground. Combining his multiple interests with vast historical knowledge, Lucà's body of work varies and it includes paintings, sculptures, installations, conceptual works and performances. His research, and consequently production, pushes the boundaries of traditional aesthetics and questions art history rules by continuously reshaping the ordinary world of logic and forms. Production can start from anything: an object, an iconic image, an historical moment, a book, or a linguistic symbol, and it develops into a conceptual piece that liberates the subject of study from its former function and meaning. Lichtenstein, 2008, is a clear example of the artist's creation process. In this work, he pierces the canvas with pins from the back, violating the recognizable imagery and working his way through the painting for the pins to form a sculptural image on the front, creating a chiaroscuro effect. The result is a magnificent steel wave that brings to life the shapes and emotions of a woman's face. The viewer is needed to "activate" the work; one needs to readjust one's position and take a step back from the canvas, in a performance-like gesture that signifies distancing oneself from the traditional approach of observing a painting. Re-working the context and the object is a principle Lucà uses also in Philosophiae Naturalis Principia Mathematica, 2012 (taken from Isaac Newton's, Mathematical Principle of Natural Philosophy, 1687). Part of a library of 150 volumes, these books are sculpted by the artist in fossil stones from the Tafilalt region in Morocco, the largest Paleozoic fossil deposit in North Africa. The artist carves the books with seminal titles and signs them with his name to evoke the concept of appropriation, stealing the original writers' words, and work. These works become symbolic objects for multiple layers of truths.