Emil Lukas: 1989 from the Sinai to Harlem

The Fundación Pablo Atchugarry is pleased to present 1989 from the Sinai to Harlem, by Pennsylvania based artist, Emil Lukas. Lukas’ second exhibition with the foundation unveils a series of never before exhibited “Stacks” that embarks on a journey through the intricacies of Lukas’ oeuvre, emphasizing the multifaceted nature of his creations and the profound narratives embedded within. The enigmatic stacked sculptures are structural fragments composed of dozens of individual works layered one on top of the other, evoking a sort of timeline into the artist’s life. As the exhibition title suggests, the genesis of the stacked sculptures traces back to the late 80s, shaped by the artist’s nomadic travels and apprenticeship with the notable Swiss artist, Not Vital, and continues to be investigated today, revealing an archeology of Lukas’ artistic practice.

The artist shares insights into his formative apprenticeship, stating, “The first travel work experience happened in 1986 with a trip to Italy and Switzerland to apprentice with the artist Not Vital. Not’s nomadic live practice was and will always be an inspiration to my work. We worked together without compromise or practicality, which was a struggle for me, but highly influential. I feel that our travels in the late 80’s and early 90’s shaped the development of stacked sculptures.”

The stacked sculptures stand at a human scale, and are meant to be flipped through or “activated” like the pages of a book, each “page” linked together conceptually, aesthetically, and structurally, creating a continuum where anything can happen. Each layer encapsulates a fluid narrative, resembling a timeline in constant flux, oscillating between the past and the future. Wide ranging materials, including paper, canvas, wood, plaster, thread, and organic material exist cohesively, and are layered and stratified, employing a constant state of “connection and regeneration,” as described by the artist. In a recent stacked work, #1552 Lead Core (2017), the viewer can detect the impressive byproducts of Lukas’ studio practice, from the thread painting the artist is most known for, to the cast-plaster work composed to resemble a honeycomb. Though vastly different, the materials found in a single structure do not exist independently, but rather depend on one another to achieve varying degrees of composition, dimensionality and optical effects. In Lukas’ earlier stacked creation, #0241 Fragility (1991), the nature of what lies within each unique layer is far more veiled, concealing a wealth of details that remains hidden, waiting to be activated. #0241 Fragility relies on the viewer’s curiosity and exploration, inviting them to experience the piece both visually and physically, as it is being activated. 

1989 from the Sinai to Harlem presents a body of intricate works that engage the viewer in an intimate and contemplative way. As the exhibition becomes activated, the artist invites us to journey through his artistic evolution, revealing layers of boundless possibilities. Lukas champions these unconventional modes of viewing his work, prompting viewers to consider lived experiences through a material investigation wherein the boundaries between past, present and future are blurred.