An Interview With Lucas Biagini

Lucas Biagini is a painter who rarely uses brushes. He moulds, slices and forms mixtures of oil paint with clays to sculpt relief-like paintings that are highly textured and layered.

His abstract paintings utilize colour and shapes that are often reminiscent of tectonic plates, fault lines or topographical maps – with organic forms and valleys stretching across the canvas. In some of his works we are reminded of skin, the body and our emotions within us – coming to light in moments of paint oozing from cracks or being released from pulling back top layers. The surface puckers and dimples, and under layers shine through. The subconscious slips through to the forefront of our thoughts. What’s beneath the surface tells the story. 

Can you tell us a little bit about you?

I was born in Toronto in 1996 and graduated from OCAD University in 2018. I love to paint, exercise, hang with my dog, play sports, and be around friends and family.

How has your style evolved over time? What factors have influenced your development as a painter?

In school, I was deeply committed to figure painting, it was my primary focus. However, as I was exposed to contemporary artists and ideas about abstraction, my style gradually shifted until I fully embraced it. A major driving factor in my work was the desire to find my own voice; I wanted to create something entirely new. I spent years experimenting and inventing processes to make paintings. This exploration shaped my approach, though I’ve since become more open to letting ideas flow naturally rather than forcing a particular style. Today, my process is more fluid and adaptable—it's as if I've developed an alphabet of marks and techniques that I can draw from, allowing my work to evolve organically

Could you describe your process of sculpting and forming oil paint with clays? How do you balance the fluidity of paint with the rigidity of clay?

Unfortunately, I like working with a lot of paint, and oil paint is expensive. So, I started looking for ways to extend my oil paint, which led me to the process of creating my own. I figured that if I wanted to create something personal and unique, starting with a medium that was entirely my own would naturally translate into work that felt original. Now that I’ve developed this dense oil paint, it allows me to work in many different ways. It can be built up, sculpted, cut into, smeared, or thinned down to behave like regular oil paint.

How do you draw inspiration from tectonic plates, fault lines, and topographical maps? Do you have a particular interest in geology or geography?

Not necessarily. While part of my work is deeply inspired by the textures and forms of earth’s terrain, I’m not directly referencing maps or geological formations for ideas. The connection to tectonic plates and topographical maps came after the paintings were made.

What is the importance of texture in your work? Do you have a specific goal in mind when creating these textured surfaces?

I think my interest in texture started at a young age. My dad and I used to make plasticine paintings, smearing it onto cardboard to create all kinds of things. I remember the excitement of playing with the plasticine, it was fun and felt so nice in my hands . When I shifted toward abstraction, working with thick textures felt natural. Texture allows for a visceral reaction, which is something I want in my work. I approach texture in different ways. Some of my paintings have a bodily presence—smooth yet imperfect, with indentations and abrasions. Some areas are matte, while others shine. They embody human characteristics but remain entirely abstract, which I love. Other pieces have a crumbly, rocky surface that feels like earth but isn’t a direct depiction of it. I’m interested in creating something that feels real, but not in the sense of representing something else. The texture becomes an experience in itself, drawing viewers in through both visual and physical layers.

When did you first know you wanted to be an artist? Were there any early experiences that particularly inspired you?

I'm actually surprised that I became an artist, it wasn’t something I ever considered growing up. I had to go to university or college, and I was kind of talked into going to art school. I was always creative as a child, but not necessarily with painting. I drew a lot, but I mostly enjoyed making my own toys, spray painting my bike, or designing my guitar and longboard. Eventually, I put together a portfolio and practiced drawing and painting, becoming an obsessive drawer. I was accepted into OCADU's drawing and painting program, originally intending to become an art teacher. I didn’t know much about contemporary art or that being an artist was even possible today. But after my first year, as I was introduced to so many contemporary artists, I realized I wanted to be an artist and dedicated myself to developing my work and learning more about art.

Are there any specific artists or movements that have inspired your work?

I have so many art heroes, but some of my favorite artists are Jack Whitten, Jen Guidi, Thomas Nozkowski, Richard Tinkler, Jasper Johns, Ida Ekblad, Chris Martin, Vaughn Spann, Mark Grotjahn, and Thornton Dial. I could go on. In terms of movements, the Dansaekhwa movement from 1970s Korea, Cubism, and Futurism have been the most influential and interesting to me.

Outside of creating, what are some of the things that you are most passionate about?

I love to exercise and play sports, primarily basketball and volleyball. I’ve always been active and enjoy working up a sweat and getting my heart pumping. It’s one of the best things anyone can do for themselves, both physically and mentally. I’m currently obsessed with kettlebells; they allow for creative movements and force you to engage your entire body.

What is your favourite book or film and why?

My favourite recent book is Rick Rubin's The Creative Act. It's incredible and I highly recommend it to anyone in the creative field. The book has provided valuable insights into my own practice and simplifies complex ideas with ease. Rubin addresses concepts I've felt or thought about but presents them in an effortless and honest way. It's a pure and inspiring read about the process of creation

Are you working on any projects you are particularly excited about?

I’m currently working on two new bodies of work that expand on past paintings. I’m creating surfaces with oil skins that feature various impressions, indentations, and lines, and I’m following these subtleties to form shapes and structures. This process involves playing with colour and line, and in a way, it feels like I’m returning to the basics of traditional painting to create something unique. Additionally, I’m planning to introduce some representational elements into my work. Over the past three years, I’ve occasionally felt a desire for something more specific and concrete, so I think it’s time to address that urge. I enjoy changing things up in my work and creating with autonomy. To me, art is all about love, freedom, and exploration, and I’m excited to see where this new direction takes me

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