Lucas Orozco (He/Him)
Royal Scottish Academy New Contemporaries: Selected Artist
Lucas Orozco (b. 1993, Madrid) is a Glasgow based visual artist whose practice explores modern taxonomy and its influence on the contemporary understanding of authenticity. He enquires about the impact of the discovery of the New World and how the necessity of a universal system of classification might have fostered the establishment of a canon still sustained by institutional structures heir of the European colonialism, such as the museum and the academia.
Through the manufacturing of diverse and modified objects and facsimiles, he researches their intrinsic nature by intentionally generating a set of problems in their categorisation through traditional systems of classification. These are meant to rouse taxonomical headaches similar to the ones identified after the proliferation of the greenhouses as sites for the study of alien species. It is in these structures designed to fabricate an artificial climate where cross-pollination is recognised as one of the first concerns regarding the domestication of nature and its placement within an anthropocentric regulatory frame. Likewise, hybridisation is often perceived as a contaminating factor within the pure categories that deserve to be conserved and represented by science.
The two Mackintosh’s fires have been a continuous influence in Orozco’s practice, instigating an analysis on the politics of replication, reconstruction, facsimilization and trauma and their effect on the reading of artefacts—all of these narratives present in the works that constitute On [dog’s name].
The fires have established a framework through which to examine the effect of materiality and authenticity. Using The Glasgow School of Art’s plaster casts collection, Orozco examines their material efficiency as disseminators in their use as tools for the education of artists. He proposes a paradox in the construction of the plaster casts as subjects: they are often devoided of stable meanings as they share a physical form with a recognisable artefact, but that is what allowed them to be the subject of representation by being the embodiment of one of the many iterations of the canon’s images; being, ironically, meant to be subjected in the educational context to continuous deforming representations.
The physical install of this project titled On [dog’s name] took part in July during Part 2 of the student-led Alternative Degree Show Festival, where the placement of every object followed a non-anthropocentric curating logic as it was be the consequence of tracking the unconditioned response of a domesticated animal to the artefacts.
A Cast Courts model at a 39000:83 scale
3D print of the negative space of the Cast Courts at the Victoria and Albert Museum (originally designed to be as tall as half of the Trajan’s Column and as wide as the façade of El Pórtico de la Gloria from Santiago de Compostela’s Cathedral).
9 x 5 x 3 cm, 2021.
A Nazi rock and a rock
Watercolour on carved plaster, fragment from the Nüremberg Stadium.
3 x 2 x 1 cm (x2), 2020.
Large format photography folded for its easy storage
Large format silver gelatine print of the Cathedral of Light by Albert Speer, sellotape.
30 x 20 x 5 cm, 2020.
Two Delicate Post-It
Post-It written by the Technical Support Department from The Glasgow School of Art denoting the delicacy of a 3D print of Dresden’s Frauenkirche and Post-It written by the Technical Support Department from The Glasgow School of Art under coercion with no delicate artefact to denote.
20 x 8 cm, 2021.
Two cochineal-coated surfaces
Stone-crushed Dactylopius coccus and linseed oil on canvas, facsimile-crushed Dactylopius coccus and linseed oil on canvas.
Rock, watercolour on carved plaster.
21 x 29,7 cm (x2) – canvas
5 x 4 x 2 cm (x2) – rock and plaster facsimile
Selenium toned Richmond’s iron bar at a 1:1 scale on the Richmond
Inkjet print on vinyl.
60 x 80 cm, 2021.
After Celestino Mutis
Dracaena fragans’ leaf folded to fit in an A4, paper.
21 x 29,7 cm, 2021.
Archeological scales at a 1:1 scale
Selenium toned gelatine silver print in fibre-based Baryta paper.
30 x 40 cm (x2), 2021.
Copper in the form of an anode formed through electrodeposition by being built as the cathode in the mould of the anode
17 x 10 cm, 2021.
Rock with Wedgwood mark
Plaster and Barium sulphate poured inside a tin box previously owned by Francisco Franco’s family, marked as a Wedgwood and carved afterwards to resemble a rock.
15 x 12 x 10 cm, 2020.
A nail’s hole filled with a nail with a cochineal on top / un clavo saca otro clavo
Hole, two nails, cochineal specimen (Dactylopius coccus).
3 x 0,5 cm, 2020.
Butter on warm marble
Plaster, watercolour, resin and butter.
25 x 25 x 1 cm, 2020.
Endless stratigraphic column
Selenium toned gelatine silver prints of plaster casts from the Glasgow School of Art’s collection—lost in the Mackintosh fires—within plaster.
90 x 20 x 20 cm, 2021.