Lucas Simões (1980) is a visual artist with a degree in architecture and urbanism from PUC-Campinas. He has held solo exhibitions at Museu de Arte Moderna Aloísio Magalhães, Recife; Caixa Cultural, São Paulo and Rio de Janeiro; and Pivô Arte e Pesquisa, São Paulo. He has also participated in group exhibitions at the 10th Mercosur Biennial, Porto Alegre; Zacheta National Gallery, Warsaw; Astrup Fearnkey Musset, Oslo; Itocho Ayoama Art Square, Tokyo; Museu Brasileiro da Escultura, São Paulo; and Instituto Figueiredo Ferraz, Ribeirão Preto. His works are part of the public collections of Itaú Cultural, São Paulo; Museu de Arte do Rio de Janeiro; Museu de Arte Contemporânea da Universidade de São Paulo; and The Blanton Museum, Austin.

Lucas Simões explores matter and materiality as a form of language, using them as a starting point in his practice. His process is grounded in theoretical research that unfolds into large-scale spatial installations, making the experience of space part of the perception of the work. His background in architecture—a combination of technical and poetic elements—guides his work and provides a framework for understanding his production.

At the core of his interests are the failures of modernity and their contemporary consequences. With subtle wit, the artist seeks to destabilize the supposed certainty and rigor of these structures, revealing their inherent fragility.
Of screens in shades bluer than blue (2022), part of the Criptomnésia series, borrows its title from a verse in Caetano Veloso’s song Anjos Tronchos. In the work, the polished surface reflects and simultaneously dissolves the image of the observer. At its center, a blue bubble emerges from the material, interfering with both reflection and gaze.

The piece alludes to the use of digital screens as a contemporary form of leisure—moments of distraction in which the gaze is absorbed, captured, and returned in distortion. Between the coldness of the metal and the organicity of the blue form, a tension arises between the human and the technological, between contemplation and the consumption of the image.