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Desire and restraint coexist in Lucas Rubly's body of work as two faces of the same medal. His scenes appear distilled from a mnemonic dimension, existing both in the present moment and an undefinable past, where his subjects plant their roots. Lucas Rubly's works appear as if painted following a backwards procedure or a process of subtraction: before, he extracts the shapeless form of his subjects and only later identifies them, stripping them of inessential detail to reveal their organic nature and the cohesive force that emerges from all things.