Editoria Giorgio Mandadori 2014 ISBN 978-88-6052-549-9 (Translation of excerpts)
” The sixteenth century knew as many treasurers of deep-rooted understanding housed in images as there were artists who managed to hide alchemical valences in their mythological scenes. Among them Sodom and Parmigianino, to name a few. The artist-seer of today should just as well evoke a vocabulary of archetypes (not entries) and iconographic models (not linguistic structures). Exactly thereon Lucas van Eeghen sets course. He presents the painting as a fertile ground to spring to life plants, foliage and leaves. The nature infiltrates back into the art. Thus the ruins of postmodernism are put in a new key. That works cathartic. ” (..)
“From the nature that permeates the architecture testifies these days the so-called Bosco Verticale (Vertical Forest) by Stefano Boeri (Studio Boeri), while Lucas van Eeghen is the great protagonist of the nature infiltrating the visual arts: he builds the surface of the canvas literally of leaves, foliage and stems in order to frame his new works. His approach is synthetic and simultaneously baroque. But although Van Eeghen is on the one hand is 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. Of his [older] works may not remain unmentioned the series of doors (Reverse side) and the admirable imagination of the paper airplane (Unwritten song).”
Daniele Radini Tedeschi called Lucas ‘the revelation’ of the Triennale di arte visive a Roma 2014 of which he was the curator.
Lucas van Eeghen 