About The Artist
In Nico Van Luca’s works one immediately realizes the artist’s congenital complexity, and the elementary nature that supports it.
Color is the real protagonist, because the artist knows how to dig deeply into it to bring out its transparent and luminous qualities. This culminates in the elaboration of a carefully researched technique acquired over years of creative experimentation.
Above all hovers an archetypal presence recognizable in the shape of outstretched wings: an eagle, but perhaps also a butterfly or maybe an imaginary being. And really, it doesn’t metter what it refers to, because the artist clearly shows us that it’s not so much the subject to hold his interest, but the gesture. A soaring in the sky, a push upwards, the imaginary detachment of those who are aware that flight will never be attained without relying on means external to the physical body. So pairing becomes the intermediary, while the arms, whipping nervously the color on the canvas, turns into a kind of astral carrier, a magical bridge between the world of humans and the boundless spaces of the imagination.
The artist abandons his own body, applying that sort of spiritual transfer already practiced by Jackson Pollock, but in our case the color doesn’t fall on the canvas due to gravity, on the contrary it’s imprinted With the energy of the painter himself who, releasing his strength, forced the work to reborn to a new life.
The language is still informal-gestural, if we wanted to cage it into a stylistic fence, but what is striking is not only the appearance of his creation, rather the extreme conviction that such an interpretation allows to actually travet beyond the barrier of what is possible, embrace the vastness or the invisible, take off the clothes of man to reach a new existence. An imaginary flight as much as a real one, an artistic and spiritual rebirth, an extreme statement of how the power of imagination is, in the end, mankind’s greatest resource.
About The Artist
In Nico Van Luca’s works one immediately realizes the artist’s congenital complexity, and the elementary nature that supports it.
Color is the real protagonist, because the artist knows how to dig deeply into it to bring out its transparent and luminous qualities. This culminates in the elaboration of a carefully researched technique acquired over years of creative experimentation.
Above all hovers an archetypal presence recognizable in the shape of outstretched wings: an eagle, but perhaps also a butterfly or maybe an imaginary being. And really, it doesn’t metter what it refers to, because the artist clearly shows us that it’s not so much the subject to hold his interest, but the gesture. A soaring in the sky, a push upwards, the imaginary detachment of those who are aware that flight will never be attained without relying on means external to the physical body. So pairing becomes the intermediary, while the arms, whipping nervously the color on the canvas, turns into a kind of astral carrier, a magical bridge between the world of humans and the boundless spaces of the imagination.
The artist abandons his own body, applying that sort of spiritual transfer already practiced by Jackson Pollock, but in our case the color doesn’t fall on the canvas due to gravity, on the contrary it’s imprinted With the energy of the painter himself who, releasing his strength, forced the work to reborn to a new life.
The language is still informal-gestural, if we wanted to cage it into a stylistic fence, but what is striking is not only the appearance of his creation, rather the extreme conviction that such an interpretation allows to actually travet beyond the barrier of what is possible, embrace the vastness or the invisible, take off the clothes of man to reach a new existence. An imaginary flight as much as a real one, an artistic and spiritual rebirth, an extreme statement of how the power of imagination is, in the end, mankind’s greatest resource.