In Rocking Chair, 2012 multiple negatives of a wicker chair are layered on top of one another, blurred, cloned and erased at random points with digital slices cut in certain areas. Perspective flattens into a two-dimensional sculpture that, despite its absolute and seemingly random chaos, feels somehow resolved. This carefully placed randomness feels like x ray goggles that Lucas has handed us as a lens for seeing the every day in a visionary new way.
img116, one of the subtlest images in Windows, Mirrors, Tabletops initially appears to be a straightforward photograph of a paint splotched highway underpass. At first glance, the image resembles a straight photograph of Rothko-inspired abstractions that often result when city officials attempt to cover up graffiti in public areas. At a closer look, it’s clear that these are actually quiet variations of Blalock’s pranks, which create both the illusion of paint on the walls, and an uncomfortable flattening of space. On the area where the overpass meets the ground, the remains of a clone stamp faintly appear, like fingerprints whispering “Lucas Wuz Here.”