like rumpelstilskin turning thread into gold
he will spin and weave fairy tales
from anything his sharp wit engages
in his perception
even debris on subway tracks becomes
an animated carnival of characters in a
plastic bags blown down a dusty street
become a poem
an artist infinitely rich in the beauty
his keen senses find in all they encounter
the seams between the motley expressions
of his gift reflect a journey ever on the
border between the worlds of light and darkness
even in joy, one eye fixed on those suffering
his compassion for all life forms has a
special place for those who have no voice
what an extraordinary sensitivity to those his
victoriously lending voice to the mute of creation
a moving example of this is “Motion to Beast”
which voices the screaming of trees, magnificent
lives robbed for nothing more than cement pavement
as George Eliot wrote:
“If we had a keen vision and feeling of all ordinary
life, it would be like hearing the grass grow or the
squirrel’s heart beat... and we should die of that roar
which lies on the other side of silence.”
the other side of silence is what Mr. Bass is ever
and still his brevity of style reflects his love of
and empty spaces..
the beauty of simplicity his love and freedom
and because he clings to nothing, neither genres,
nor places, nor possessions
his imagination is wildly free
the genius and wit of which will at once take your
breath away and be a breath of fresh air
I Zohra Adrian 2008
|Lucas Bass, a poet, a musician and an artist comes by his talents naturally. He has had no formal training in any of his avocations, yet is skilled and adventurous in all of them. He learned his craft by trial and error. Anything can happen when there are no limitations. In this case, the lack of limitations is fortuitous.
The artist’s fascination with drama and mystery is very much apparent in his art. There is a streak of the past as well as of the future in his work. It is timeless, evocativeat times disturbingalways masterful and riveting. His palate tends to the rich, deep and saturated. He is a pragmatist when it comes to materials. He loves the depth of color achieved with oil paints as were used by the old masters but also uses more modern materials such as acrylics, plastics, resins, building materials or whatever serves to meet the demands of the project at hand. He knows his tools as does any master and uses them well. His works are created to lastthey are enduring both in subject matter and in construction.
This [website] will serve to highlight the artist’s love of expressiveness. Other works focus on the nature and essence of flowers, on symbols with mysterious and forgotten meanings and on medallions and rosettes seemingly torn from adornments in ancient and crumbling castles. This is a wondrous and celebratory exploration and unveiling of the rich fantasy life of the artist.
Ulla Surland April 2006
|It has been my pleasure and privilege to have known Lucas Bass for five years in a variety of capacities, giving me personal insight into his character, revealing many facets of an extraordinarily creative mind.
From the moment of my introduction to Lucas and his work, it was apparent to me that he possesses the two essential qualities of artistic genius; phenomenal talent and an astonishing vision. In all my years of teaching, and in fifteen years as an artist exhibiting in the USA and Europe, I have discovered no person with stronger or more unusual capacities.
Lucas possesses all the physical and mental faculties required for skilled, precise rendering, and a sensitivity for graphic handling which imparts an extra dimension: a nuance of touch. His use of colour, spontaneous yet sure, vibrant yet harmonious, reveals a powerful sense of chromatic impact. But perhaps most significantly Lucas demonstrates the ability to deploy his technical skill in depicting his inner vision.
His perception is unique, incisive, startling.
Although Lucas has had no formal instruction, he has accomplished much despite having to contend with atmospheres not conducive to artistic pursuits.
James Russell Smith 1995
|Early on Lucas's education wasn’t good for much though his father did have a passion for art (mostly he liked collectibles from Africa, Oceana, and the Americas although he wasn’t above the occasional Hummel Figurine). His father's ecclectic collection may have led to Lucas being exposed to Solanum via a Tiki drum from Polynesia made from the carcass of the now extinct Sparrow Estphlabileus. He has been a Zombie ever since, hence his uncontrollable appetite for painting flesh. He finds the flesh painted by Gericault for his figures in “Raft of the Medusa” to be particularly desirous as the humans are depleted of their ability to run and the flesh appears to be not living but not dead either.
In his portraits he tries to capture the illusion of real living and breathing humans. The paintings he is showing are the least successful of the lot because he ate the others.
Rev. G Theodore Wharmby 2007 (from a humerous anecdote regarding a group of portraits).