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Lucas Knowles (BFA 2014)

Published May 22, 2014
Three sculptures hanging on a wall. A goat, a wolf, and a rabbit.

“The Gift of Autumn, The Ruin of Winter, The Renewal of Spring” Earthenware, Brass/Copper Wire, Vines

Front of wolf sculpture

“The Ruin of Winter” Earthenware, Brass/Copper Wire, Vines

Artist Statement

Though “the soul” is an abstract term, it generally pertains to a world within one’s self that is unique and exclusive to its host. I believe it is only human nature to desire a means of communication between one’s soul and the outside world; we want to tell people who we really are and what we really believe in. For most of my life, I didn’t believe in anything. My soul remained hidden, deferred until I found something to stimulate it. While hiking on a trip to visit family in Switzerland, I had a moment of intense epiphany. After approaching a plateau and breaking through a veil of branches, a gust of cool wind blew through my hair as a seemingly infinite expanse of mountainous landscape revealed itself to me. Sublimity engulfed my mind and it was as though the Earth had spoken to me in that moment – presenting something I could believe in without doubt; the purity and power of nature. Nature is beautiful, powerful, and infallible; it is a force that governs the truths we think we know and supplies us with the resources we need in order to thrive. My soul yearned for awe until finally I found a way to appease it. I found something to believe in; a faith I express through my art.

 

Front of rabbit sculpture

“The Renewal of Spring” Earthenware, Brass/Copper Wire, Vines

Every day I work to further understand and more effectively utilize religious symbols that recall the sanctity within sacred medieval iconography.  The symbolism my sculptures reference most often involves human hands. The hands are closely tied to the human conscious and are thus a natural necessity for communication within all languages. Buddhist mudras and various hand gestures made within ancient Christian art are incorporated not only for the concepts they represent, but also set the religious theme for the viewer. My liberal use of golden wire acts as an element of religious expression as well; ancient reliquaries were highly ostentatious and adorned with gold and precious gems as a means to show value, significance, and reverence. By reintroducing these symbols and materials I add the familiarity of spiritual ideals and lore to those that I have personally manufactured. This serves as an aid in understanding the message within the totemic figures I create.