Lucas’s work has always involved everyday readymade objects. Old mattresses and chairs, cigarette butts, and cucumbers come together in suggestive assemblages. She doesn’t in fact have a studio. Instead, she largely works at home or wherever she lands, borrowing or renting spaces, and often making works directly inside the galleries in which they will be presented. If you had to pick one material that the artist owns aesthetically, it would be tights. Beige, fleshy, saggy, or stuffed, Lucas’s bargain nylons morph into manifold sculptural forms throughout her body of work. They are human and abject, fleshy and inanimate.
There is often something sexual in her work. She has made Plaster phalluses, wanking arms, and stuffed breasts, and her first solo exhibition was titled “Penis Nailed to a Board.” Her sculptural body parts are brash and almost pornographic: Two Fried Eggs and a Kebab
(1992) presents the ultimate reductive representation of the woman as breasts plus vagina. She does the same with men: a milk bottle cock stands out among her various penis pieces. “That fascination with dicks is a formal one as well.… It can already stand up and do all those things that you’d expect any sculpture to do,” she once explained