Prof. Daniele Radini Tedeschi, the curator of the Triennale di arte visive a Roma, declared the Dutch artist, and Leonardo award winner, Lucas van Eeghen, to be one of the heralds of the new movement of this millenium, Tiltestetica (also known as Estetica Paradisiaca, Editoria Giorgio Mandadori 2014, ISBN 978-88-6052-549-9)): 'As an artist-seer of today Lucas van Eeeghen sets course to evoke a vocabulary of archetypes and iconographic models. (..) He builds the surface of the canvas literally of leaves, foliage and stems in order to frame his new works. He is the great protagonist of the nature infiltrating the visual arts. The ruins of postmodernism are put into a new key. That works cathartic. His approach is synthetic and simultaneously baroque. But although Van Eeghen is on the one hand moving in the direction of Futurism, he owns on the other hand, an extreme individuality that connects him in the art of painting - the old craftsmanship - with Ferdinand Khnopff and even Vermeer.'
The 3D recent paintings in mixed media (video) are indeed unique in its sort. The paintings invite to touch. Questioning the relation of mankind and nature. What are the paintings made of and how long do they last? Are all things of true value fragile and defenseless? The images are picked out of the air like songs, seemingly coming from nowhere. A new language opens a soft world of floating intuition. The poetry of toujours l'amour et la mort. And the hope that keeps us alive.
Dr. Giorgio Vulcano (Last paradise, 2014, Editoriale Giorgio Mondadori, isbn 978-88-6052-580-2), wrote about Lucas van Eeghen: (.. for) 'Kant, in his Kritik des reines Vernunft, art is based no longer on imitation, but it is regarded as the ingenious creation of the artist, although he still assumes a strong connection between art and nature: "... the human talent is the innate disposition of the soul with which nature sets rules to art."
In that perspective fits the artistic talent of the Dutchman Lucas van Eeghen, who with his recent 3D paintings in mixed media skillfully explores the relationship between mankind and nature, and prompts us to not consider them as separate concepts. He does this by encouraging our right to think in an open debate on the question, "do contemporary human beings feel to be inextricably linked to nature?" Examples are the works Field of Hope (2012) and Field of Love (2013), in which the mixture of natural and artificial elements produce extrordinairy effects in a three dimensional, colorful and communicative environment. In his 3D work Van Eeghen uses true leaves and stems, which he petrifies in his very own technique using industrial paints in shades of green, red or blue. He transforms the canvas from a simple support into a meaningful dimension of the visual image, and in that process he uses compositional effects that are close to reality but ultimately illusory, in order to express the artificial processing of natural forms.
The nature of our time shows the fading boundaries between nature – as what used to ordaine this world in absolute terms - and the artificial. The "divine" order of the world has been destroyed or lost - there is no longer a nature that should be respected - and thus not only disappears the distinction between nature and the artifice, but everything is in principle feasible and artificial. In the inspiration of Van Eeghen an implicit warning is hidden: todays life with the the continuous progress of science and technology may deprive mankind of its naturalness and its nature. Van Eeghen wants to recall with his "paintinsculptures" how the leaves had a life of their own, before they were crystallised by him, embalmed, as it were, in their own plastic.
And in such a hectic life, in which the speed dictates our time, in which technological progress dominates everything, we easily forget the future dimension of our existence. We have to stop and meditate on the purpose of our own essence. The work Stop the time (2011) testifies of this: a bust of a man firmly put in a plaster without any space and time references, with a lot of newspapers as a sort of headgear, as if he was fixed in our own stories of everyday life. Van Eeghens art thus seems to want to freeze the presumption of a better future in its own way , difficult for now, but conceivable as a hope for our millennium, both confrontational and essential.
The nature of our time shows the fading boundaries between nature – as what used to ordaine this world in absolute terms - and the artificial. The "divine" order of the world has been destroyed or lost - there is no longer a nature that should be respected - and thus not only disappears the distinction between nature and the artifice, but everything is in principle feasible and artificial. In the inspiration of Van Eeghen an implicit warning is hidden: todays life with the the continuous progress of science and technology may deprive mankind of its naturalness and nature. Van Eeghen wants to recall with his "paintingsculptures" how the leaves had a life of their own, before they were crystallised by him, embalmed, as it were, in their own plastic.'
Lucas van Eeghens paintings have been exhibited a.o. in Galery Siau, Arti & Amicitiae, Nieuwe Kerk, Beurs van Berlage, Vondelkerk, Centrum Bellevue, Royal Palace at the Dam, Alexander F. Milliken Gallery (NY), NTG Gent, popup galery kerkstraat 276, Museo d'arte Chianciano, Art Monaco, Triennale di arte visive a Roma 2014, Delfi Form Zwolle, Gallery Gagliardi London, Gran Finale Triennale Roma, Amsterdam Whitney Gallery NY. Nominated for royal subsidy. 3rd Willink van Collen award, multiple Artslant show case winner, Biennale 2013 Chianciano: Leonardo award. Upcoming: Amsterdam Whitney Gallery NY NY,