Michael Lukasiewicz’s portraits are instantly recognisable, characterised primarily by the striking intensity of his subjects. From the age of ten, Lukasiewicz wanted to emulate his older brother who was attending a secondary school that focused strongly on art. Following in his brother’s footsteps, he studied at the same school and has rarely laid down his pencils and brushes since.
Throughout his career, Lukasiewicz has maintained a fascination with the human form, culminating in his distinctive, subtle yet penetrating portraits. His sources of inspiration are wide-reaching and his works, an interesting combination of acrylic and gesso, frequently blur the boundaries between drawing, sculpture and painting.
His influences range from the Renaissance and Masters of the 19th century to Modernism, while the poses often allude to Classical sculpture recalling tradition and perfection. All the works capture a relatively simple moment but there is a more complex message behind them, a timeless quality enhanced by the lack of references to modern life.
Enthused with striking dashes of colour and a powerful use of light, Lukasiewicz’s delicate and muted palette of near-monochrome browns and greys adds to the sombre and troubled feel of the works. Not even the sensuality of the nude bodies can detract from the spirituality of the gaze or the tenderness that is elsewhere suggested by lowered eyelids or turned heads.
These works redefine subtlety; Lukasiewicz’s paintings simultaneously invite and evade. His artwork evokes a carefully wrought tension between opposites: serenity and intensity, silence and sound, stasis and motion and two and three dimensions.
There can be no doubt that his beautiful works will move you and draw you away from the tempestuous world outside into his own mesmeric horizon.
“My paintings are of the human form, the soft tenderness that it can transfer to the viewer; never the anger of the world but the peace and harmony that humans are capable of. I have been influenced by living in Belgium and painters of the Benelux countries and I try to show the placid side of the subject using light, the reflection of light and the shadows to emphasise the subjects form and curves. I never use colour but the subtleness of tone to achieve these effects. I try to achieve the smoothness of skin and the body so no brush strokes are visible to the viewer. I have developed this technique for painting the human body and have works in many collections.”