self portrait with skull自画像与骷髅头
莎拉·卢卡斯(Sarah Lucas)
莎拉·卢卡斯1962年生于伦敦，1982-1983年在伦敦的工人学院学习，1983-1984年在伦敦版画艺术学院学习，1984-1987年就读于伦敦哥德史密斯学院。目前在伦敦生活和创作。
卢卡斯得作品主要集中于对性别的表现。她利用多种媒介进行创作，比如摄影、拼贴以及雕塑等，并且把日常生活里的材料用于作品之中。
她的作品也大部分建立在自我表现上。《自画像系列》[Self-Portrait Portfolio]囊括了她1990年到1998年间创作的很多肖像作品，她频繁地使用食物或是日常用品，作为一种对静物的隐喻。每幅作品中，卢卡斯都用可笑的场景来戏弄观众。她在性别主题上作文章，除了让观众重新审视自身对两性角色的看法以外，也揭示了英式幽默里令人不安的东西，卢卡斯的作品具有某种自然状态下的活力，带着对峙的感觉，她常常对男性姿态进行一种滑稽模仿，使作品以其另类的幽默让观众觉得既有些气恼又很好笑。
卢卡斯的另一个主要兴趣，是通过雕塑来拓展这种自我表现力。而名称也是构成作品含义的一个重要组成部分，比如《Donkey-Kong-Diddle-Eye》(2000)，这个名字结合了一个电脑游戏的名称和一首英国童谣里的拟声句，从一开始就表达了一种轻松愉快的氛围。作品的主题仍然是两性。一张沙发背分成了两部分，就像性别的分类一般，作品通过使用照明材料区分两性：一个双泡代表女性，一根霓虹灯管则代表男性。整个作品看起来就像是以贫乏的材料不经意间做成的组合，但实际上表达的却是对当前性别及其划分的一种看法，换句话说，它们坐落在沙发对立的两侧，从而表现了性的划分。同时，这个作品也巧妙地映射了大众媒体对人们生活的操作，即人们乐于待在家里，坐在沙发上看电视。
Sarah Lucas was born in London in 1962. She attended the Working Men’s College, London, 1982-3, the London College of Printmaking, 1983-4, and Goldsmiths College, London, 1984-7. She lives and works in London.
Lucas’ work is centred around gender representation. Working across several media such as photography, collage and sculpture, she often uses everyday materials in her works.
Her work is also very much based around self-representation. Her Self-Portrait Portfolio encapsulates many of the iconic works made during the period 1990-1998, frequently using items of food or everyday objects as metaphoric still-lives. In each of these, she teases the viewer with comical situations. Playing on sexual themes, she reveals uncomfortable aspects of British humour, in addition to asking the viewer to re-assess their judgement of gender roles. Her work always has a certain raw energy, it is confrontational as she often impersonates masculine poses with travesty, and its wry sense of humour leaves the viewer both provoked and amused.
Another major interest is the extension of self-representation through sculpture. Titles also play an important part in the work’s meaning as in Donkey-Kong-Diddle-Eye (2000), which is an amalgamation of a computer game’s title and an onomatopoeic line taken from an English nursery rhyme - the work proclaims its light-heartedness from the onset. Playing on gender stereotypes a sofa is divided in two, like the division of the sexes with gender underlined by the use of lighting materials, a double lamp for the female half, and a neon tube for the male. The work looks like a casual assembly of poor materials, but is a comment on current sexuality and the gender divide, in other words sitting on opposite sides of the couch. It is also a sly observation about subservience to the mass media, or being happy to stay at home and to sit on the sofa.