Lucia Leuci

Lucia Leuci, E20, 2010 Leather, spray, pastel 53X43 cm ph. Laura Fantacuzzi

Lucia Leuci, Zobeida, 2010 Paper, pvc, spray 33×21,5 cm. ph. Laura Fantacuzzi

Lucia Leuci, Quarto di bue, 2010 PVC, acrylics, spray (Monotype) 127×85 cm ph. Laura Fantacuzzi

Lucia Leuci, Slug (1), 2016 Resin, textile, 96x68x7 cm ph. Alessandro Zambianchi

Lucia Leuci, Slug (1), 2016 Resin, textile, 96x68x7 cm ph. Alessandro Zambianchi

Lucia Leuci, Slug (2), 2016 Resin, textile, 81x68x7 cm ph. Alessandro Zambianchi

Lucia Leuci, Slug (2), 2016 Resin, textile, 81x68x7 cm ph. Alessandro Zambianchi

Lucia Leuci, La battaglia degli scampi, 2017 Porcelain, resin, pigment, spaghetti, squid ink, quail bones, beet essence, 62x30x25 cm ph. Laura Fantacuzzi

Lucia Leuci, La battaglia degli scampi, 2017 Porcelain, resin, pigment, spaghetti, squid ink, quail bones, beet essence, 62x30x25 cm ph. Laura Fantacuzzi

Lucia Leuci, La battaglia degli scampi, 2017 Porcelain, resin, pigment, spaghetti, squid ink, quail bones, beet essence, 62x30x25 cm ph. Laura Fantacuzzi

Lucia Leuci, Notturno con eclissi, 2017 Porcelain, resin, pigment, tripe, flounder’s skin, licorice powder, insects, Ø 33×5 cm ph. Laura Fantacuzzi

Lucia Leuci, Notturno con eclissi, 2017 Porcelain, resin, pigment, tripe, flounder’s skin, licorice powder, insects, Ø 33×5 cm ph. Laura Fantacuzzi

Lucia Leuci, Notturno con eclissi, 2017 Porcelain, resin, pigment, tripe, flounder’s skin, licorice powder, insects, Ø 33×5 cm ph. Laura Fantacuzzi

Lucia Leuci, Sculpture (Volcano Lava), 2018 Resin, synthetic hair, fabric, stuffing, yarn, nacre, plastic, bones 64x50x16 cm Holder Lila de Magalhaes Ph. Anastasia Loginova

Lucia Leuci, Sculpture 9 (Milky), 2019 Resin, fabric, synthetic hair, stuffing, yarn, plastic, perfume, 64x50x16 cm
Knee pad, 2019, Resin, synthetic hair, nylon, plastic, variable dimensions
Holder Anni Puolakka
Ph. Antti Jussila and Jari Kallio

STATEMENT


In her observation of everyday life, Lucia Leuci essentially explores two pivotal themes: the existential, intended by the artist as capturing individual existences that can be found in the real world (i.e. observing unsymbolic, commonplace subjects, such as workers, families, mothers and children, creating new forms of so-called ‘ordinary people’), and the urban, where the city is viewed metaphorically as a place that influences the existence of each individual. Both tensions express a sociological lexicon of everyday life, filtered through an act of synthesis and of a non-analytical eye, which manifests in an indistinct use of multiple media.

Lucia Leuci’s practice constantly sweeps from immaterial, emotional and metaphorical content to the tactile substance of sculpture, installation, painting and drawing. This passage from corporeal to immaterial could seen as a translation process that transforms and contaminates what it deciphers; an exploration of the meditative state acquired by this evolution and the relation it has with the meaning of presence and time, as well as the relationships between structure, space and viewer. However, this process is not a mere reproposal or reconfiguration of the materials but an exploration of the material itself: its entropic appearance, temporality and ephemeral nature.

The artist experiments with the materials in an intuitive and empathetic manner, often delving into their least conventional properties, inviting us to understand and interpret them in new ways.
Lucia Leuci creates a symbolic vocabulary through the lyrical observation of the arrangements of contemporary of spaces and the unstable confines of its categorisation, in terms of individuality and collectivity, physicality and immateriality, motion and fixity. Her works are environments that function on a metaphorical level, through a sort of physical persistence of experience and exploration. Her research metabolises ordinary and precious materials that are then combined and transformed into aggregated structures. These physical and mental systems emanate a transformed and different consciousness, becoming ‘beings’ immersed in a vital energy, in the memory of one’s personal and collective history.

BIOGRAPHY / CV


Lucia Leuci is a visual artist based in Milan. Her artistic practice focuses on the use of drawing, painting, sculpture and installation as primary needs and means of expression. She explores reflexive actions that transcend individual choice – primitive performative acts that perpetually scale between intimate manual skill and collective action. The latter involves a process that is based on the transmission of knowledge, experiences and actions as part of the creative process. Leuci’s sculptures use materials that are chosen for their emotive capacity, often juxtaposing organic and artificial materials, in order to investigate the theme of motherhood alongside the meaning of being “creole” in contemporary society. She analyzes this cross-section of contemporary society at a time when distinctions social class and nationality are being flattened and homogenized into a standardized, characterless aesthetic and vision of life. The objects that make up Leuci’s sculptures become a pretext for reinserting, or even imposing, political and social categories alongside sentimental expressions. Each object in proximity to each other generates an expressive rhythm of these unique sculptural personas that the artist puts forth.
Recent solo shows include the exhibition “La ragazza di città” in dialogue with Carol Rama, Tempesta gallery, Milan (2020); “Prendersi cura” curated by Christina Gigliotti at Polansky Gallery, Prague; “Family Drawings” (in collaboration with Zoë De Luca), Unit110, Chinatown/New York (2018); “Materia prima” at Adolfo Pini Foundation, Milan (2017); “Mamme cattive, bambini creoli”, TILE Project Space, Milan; “Alley”, presented by Contemporary Art Advisory, Giorgio Galotti project room, Turin (2016); “Tukatuka” with Michele Gabriele, CRAC Contemporary Art Research Center, Cremona; “My heart’s with you” curated by Alex Ross, 63rd-77th Steps, Bari (2014). Previous group exhibitions include “The Monstrous Bouquet” curated by Mireille Tap, Omstand space, Netherlands; “BAITBALL (01)” curated by Like a Little Disaster and PANE project, Polignano a Mare (2020); “Northern Lights” curated by Something Must Break, Alta Art Space, Malmö; “SUPERHOST” curated by Like a Little Disaster and PANE project, Like a Little Disaster, Polignano a Mare; “Swamp Horses” presented by Altan, Spirit Vessel, Espinavessa; “Surrogate Dreams” curated by Underground Flower, Perth, Melbourne, Warsaw and Hong Kong; “Vauva.fi”, Titanik gallery, Turku; “Imbroglio (or the ability to incorporate possibilities)”, Like a Little Disaster, Polignano a Mare (2019); “#coalescence, re.act contemporary” residency program co-curated by Ultrastudio and Scandale Project, Museu de Angra do Heroísmo, Azores Island; “StickerSUV” curated by PANE project in cooperation with BSMNT, Spinnerei, Leipzig; “Some People Are Worth Melting For” curated by Ginny Projects at Alltwinau Farmhouse, Llanwrtyd Wells; “#videotutorials” curated by PANE project and Media Naranja, Plage des Goudes, Marseille + AQNB platform; “Assiette ou Virage et Dérapage” curated by Something Must Break, Milan; “Biennale of Future Contemporary Arts”, FSC, Copenhagen (2018); “You would like that we were not here. But we are too emotionally absorbed by the home sickness of places that we’ll see only from the windows of our Bentleys” curated by Something Must Break, OFluxo; “Trigger Parties” a project by Siliqoon, Marsèlleria, Milan (2017); “BubbleTea” curated by PANE project, Milan; “Cupid’s Clearasil” Country Bumpkin, Portland; “A night out of town” Clima Gallery, Milan; “Kelly Bar” curated by PANE project, Milan (2016); “Susy Culinsky & Friends” the choral project by Beatrice Marchi, Fanta Spazio, Milan; “Chapter #2 / Soprannaturale” curated by Francesco Lecci, Tintoria, Milan; “AFA2” curated by 63rd-77th Steps, Pane&Pomodoro, Bari; “ALWAYS BRIAN (ti amo)” curated by 63rd-77th Steps, FAL, Bari (2015); “Mediating Landscape” curated by Flip project space, Sala Murat, Bari; “Speedboat” curated by Alex Ross, Nicelle Beauchene Gallery, New York (2014)