It seems that I am always a step behind Sarah Lucas. It’s the wet footprints on the wooden floor that let me know that someone was in the house, barefoot, wondering around -then the footsteps end not on in front of a door or a window, but on a brick wall; she either passed through it, or just disappeared into thin air.
I always catch her work at the Situation gallery at the transition stage between old and new. I walk around the room as the new plans are drafted, the new work is coming in, the old work standing still before being moved out of sight, out of display. The air smells of change, of anticipation, of something that is not exhausted yet has to be revived.
The last time I went, I saw her collaboration with Rohan Wealleans. The space was very different from Rose Bush. The artist’s viewpoint of the same subject was very different as well. Lucas hints- Wealleans shows.
The wallpaper was different, as a layer of Wealleans’s pictures covered Lucas’s previous images with vaginas encrusted with patellidae; indeed, the whole room was adorned with hanging patellidae, giving it a truly beautiful, if a bit unsettling, underwater feeling. The references to genitalia, femininity, nature and the sea world were done by joining a social with an aesthetic commentary, making the crude beautiful, in a way that walked the line without stepping on either sides.
I am now outside of the gallery, looking at front door, wondering what is waiting for me inside. Time to follow the wet footsteps.