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    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021
    Open a larger version of the following image in a popup: Sarah Lucas, TITIVILITIUM, 2021

    Sarah Lucas Londres, Reino Unido, 1962

    TITIVILITIUM, 2021
    Medias, cuerda, madera, resortes, zapatos, pintura acrílica, silla de metal
    94 x 61 x 76 cm
    37 x 24 x 29 7/8 in
    © 2021 Sarah Lucas / Cortesía Sadie Coles HQ, Londres

    Imágenes

    • (View a larger image of thumbnail 1 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 2 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 3 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 4 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 5 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 6 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 7 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 8 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 9 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 10 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 11 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 12 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 13 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 14 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 15 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 16 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 17 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 18 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 19 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 20 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 21 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 22 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 23 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 24 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 25 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 26 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 27 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 28 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 29 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 30 ) Ray Richardson, This sporting life, 1992
    Ver en el muro
    Leer más

    Escultura en varios materiales del cuerpo de una mujer al que le falta la cabeza. Más que sentada, está enroscada en una silla escolar, con la flexibilidad de una figura de plastilina. Lleva los pechos al aire, pero está calzada y con medias hasta las rodillas. La torsión y la indumentaria sugieren algo gimnástico. Los colores y las formas tienen algo de dibujo animado.


    Las obras de Lucas reproducen gestos lascivos que revelan lo absurdo de los estereotipos sexuales. Lucas subvierte la mirada masculina y los símbolos de lo que se considera femenino o masculino. Al cuestionar la manera en que entendemos y nos relacionamos con aspectos como la sexualidad, la enfermedad y la muerte, su obra expande los límites de la representación del cuerpo.

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