• Installation view of BEDROOMS, 2018
  • Installation view of BEDROOMS, 2018
  • Installation view of BEDROOMS, 2018
  • Lucas Grogan, Lying Lovers Lying Down, 2018, acrylic and enamel on canvas, 210 x 285 cm
  • Lucas Grogan, Three Ghosts On The Darlin' Quilt, 2018, acrylic and enamel on canvas, 210 x 170 cm
  • Lucas Grogan, He Brought Flowers and Wine To My Room, 2018, acrylic and enamel on canvas, 210 x 190 cm
  • Lucas Grogan, This Room is On Fire, 2018, acrylic and enamel on canvas, 150 x 130 cm
  • Lucas Grogan, The Readers, 2018, acrylic and enamel on canvas, 150 x 130 cm
  • Lucas Grogan, Private Dancer, 2018, acrylic and enamel on canvas, 150 x 130 cm
  • Lucas Grogan, Fight Flight, 2018, acrylic and enamel on canvas, 72 x 72 cm
  • Lucas Grogan, The Watcher, 2018, acrylic and enamel on canvas, 72 x 72 cm
  • Lucas Grogan, Well Done Darlin, 2018, acrylic and enamel on canvas, 72 x 72 cm
  • Lucas Grogan, A Shadow, 2018, acrylic and enamel on canvas, 72 x 72 cm

Lucas Grogan

BEDROOMS

12 May - 17 June 2018

Yavuz Gallery is proud to present BEDROOMS, the first solo exhibition of Australian artist Lucas Grogan in Asia.  One of the most exciting artists of his generation, Grogan will present a new series of paintings exploring the domestic interiors of couples caught up in moments of emotional intensity and personal containment in his signature blue and white style. The exhibition continues the artist’s obsession with pattern, figuration and language.

Having exhibited extensively throughout Australia and internationally, Grogan is known for his distinctive and sophisticated style that is fastidiously patterned, hypnotic, and laden with jokes and scurrilous humour. “As pattern-seeking creatures we are constantly trying to identify, predict or dismantle patterns in our relationships, interactions and personal life” – Lucas Grogan.

The psycho-spiritual patternation that the figures dwell within in these new works highlight the complex and competing influences modern-day couples experience. The spaces, with their deliberately tilted and distorted perspectives, reference both ceremonial iconography and domestic textiles such as rugs and quilts. The text throughout these paintings acts as a form of ‘micro-poetry’ sourced from proverbs, lyrics and conversations. Placed inside the screen of an abandoned iPhone, books or bottle labels, these ‘conversations’ offer the audience the opportunity to decipher the relationships between the figures.