Lucas Arruda’s detailed compositions may appear to depict specific environments, but they are built from memory and intuition rather than as a reproduction of a scene. His subtle artworks straddle abstraction and figuration and are notably often grouped into the Deserto-Modelo (Model of Desert) series.
Lucas Arruda was born in 1983 in São Paulo. He painted every day as a child—speaking in 2017, he said: “I was quite a hyperactive child, so my parents enrolled me in an art school for children where I experimented with different media.” When he enrolled in Faculdade Santa Marcelina art college in São Paulo, painting was not fashionable, but he and his contemporaries “reclaimed” the practice. He graduated with a BFA in 2009.
Arruda’s artistic practice balances colour and light to suggest faint horizons, luminosity and a vastness of landscape. He often establishes the horizon line first, working instinctively to fuse sky and sea and to establish a temporal relationship between the viewer and the painting. He frequently works in small formats—“The space I’m suggesting inside the canvas wants to be bigger than the edges,” he said in 2025, talking about creating a “sense of intimacy about paintings that want to be bigger than the limits of the canvas”.
Talking about the idea of desert, Arruda said in 2015: “In a desert you don’t know if it’s the start or the end of the world. It’s a place man can’t survive, an empty place, not anything, a metaphysical place, because you have no presence of time, but an existential quality. For me, it’s the only place where you could have freedom, an experience of death as an experience of freedom, and then return home safely.”
No—even though his paintings are based on environments near São Paulo, Lucas Arruda works in his studio, building up each picture from memory.
Almost all Lucas Arruda’s artworks are called Untitled (from the Deserto-Modelo series), a title that comes from the Brazilian poet João Cabral de Melo Neto. In a 2015 interview, Arruda explained: “It’s the final line of one of his poems: ‘We chose to build an enormous model.’ This word, translated as ‘model’, could be understood as a pattern, or a new system, or an idealistic desert. It makes sense for me, because it brings attention to the civilisation, the repetition and development... The works all deal with the same issue, and there’s a kind of a pattern of which things show.”
Arruda’s techniques vary depending on whether he’s producing abstractions or landscapes. To make his monochromatic works, he starts with pre-dyed canvases and builds layers of oil paint, which can take months, creating luminosity using complementary colours. He also incorporates beeswax into the paint. Landscapes are often produced wet-on-wet in intensive painting sessions.
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