Sarah Lucas ‘Happy Gas’, at Tate Britain

I’ve long been an admirer of Sarah Lucas’ work and its profound exploration of the human form pushing gender and societal norms. Her work so refreshingly hers. There is a quintessential Lucas boldness to everything this artist does. Visceral, unapologetic in presentation, this underpins each piece of work. When brought together in one place, as in this new exhibition at Tate Britain, we are immediately struck by a career of significant magnitude.

We find ourselves both intoxicated and intoxicating in equal measure.

We know that Lucas' skill lies in her ability to eclipse traditional artistic boundaries, blending unconventional materials to convey multiform ideas. From the stark juxtaposition of objects in 'Au Naturel', to the provocative sculptures in 'Nud Cycladic,' each construction is created to bash preconceived notions, and challenges viewers to play footsie with dialogue about identity and our very existence. We find ourselves both intoxicated and intoxicating in equal measure, the challenged and challenging.

The exhibition is very human. Curation is very considered, which is expected of Tate, but this exhibition has an impeccable quality, allowing each piece to breathe within its own narrative while contributing to the larger conversation. We are consistently reminded of the human condition, works such as ‘Two Fried Eggs and Kebab’ being particularly poignant, with many other works referencing the human condition.

Across the portfolio of work, one delves into Lucas’ relationship with the natural world, energy, and her fascination with manmade objects.

Perhaps the most uncompromising representation throughout the body of work shown is Lucas’ portrayal of the female. Her collection of sculptures is a challenge to convention, powerful as individual pieces, but collectively as a big ‘fuck you’ to conventional tropes of ‘what makes the female beautiful?’ Each sculpture has its own name, such as ‘Bunny Gets Snookered’, showing powerful qualities that far exceed typically celebrated feminine aspects. Lucas opts for bolder alternatives such as self-assurance.

Across the portfolio of work, one delves into Lucas’ relationship with the natural world, energy, and her fascination with manmade objects. We are also invited into the artist’s use of materials, both organic and inorganic, with pieces such as ‘This Jaguar’s Going to Heaven’ and her playfulness with her ‘Sandwich’ art. These juxtapositions are what make Lucas so interesting.

‘Happy Gas’ at Tate Britain is a masterpiece. It’s an experience that lingers long after departure.

For more information and bookings, please visit Tate Britain’s website

Images by Tate Britain