I have recently seen the work of Sarah Lucas and fell in love with her art! Her life is really interesting, and again another fabulous story. I love her sense of expression and freedom and just her who gives a damn attitude.
Sarah Lucas was the wildest of the Young British artists, partying hard and making art that was provocative and at times genuinely shocking. Then as Emin and Hirst went stratospheric, she slipped off to Suffolk, where she’s been ever since …
It is surprising to find someone whose most well-known work is so urban – kebabs, fried eggs, dirty public toilets, grimy, paint-splattered walls, burned-out cars; so saturated with the sense of the London she grew up in – tucked away down a long country lane, behind a Baptist church in Suffolk.
Sarah Lucas may not be the most talked about of the Young British Artists but she has always been one of the most important. At the beginning of the 90s, while women were trading shoulder pads for Wonderbras and cocktails for pints of lager, Sarah Lucas swapped feminist theory for Page Three.
Lucas challenged the street slang used to describe women by turning it into physical forms. She replaced anger and embarrassment 
with humour, portraying breasts as melons or fried eggs, catching public attention with hard-hitting sculpture and spreads from
The Sun. In making physical representations of sexual slang and celebrating stories about rampant dwarves she moved the discussion further along then any amount of protest art.
Sarah Lucas is the “drinking man’s” Rachel Whiteread. You can clearly make out the core materials and traditions of her art – concrete, cardboard, resin, steel and found objects; the cool, minimal associations of which are tinged with humour and sexual innuendo.
Her use of animal carcasses, fish, fruit and veg rotting on top of these surfaces recalls still lifes, while she pays homage to Duchamp with toilets and bicycles.
Within her sculptural compositions there are extremes between her use of materials (a chicken and bra stretched and tied to each end of a steel-sprung bed in Bondage Up Yours, 2000) but nothing is clumsy or unresolved. She knows exactly how much information to give,
which angles suggest dominance or subservience, and how far apart or close objects should be to create or emphasize tensions out of otherwise inanimate items. And it’s interesting to observe her decisions about scale.
In the early 1990s, Lucas began using furniture as a substitute for the human body. Through her career, Lucas has continued to appropriate everyday materials (including, for example, freshly made fried eggs) to make works that use humour, visual puns
and sexual metaphors of sex, death, Englishness and gender.
In works such as Bitch (table, t-shirt, melons, and vacuum-packed smoked fish, 1995), she merges tabloid culture with the economy of the ready-made. In earlier work, she had displayed enlarged pages from the sports pages of the newspaper.
Sarah Lucas is also known for her self portraits, such as Human Toilet Revisited, 1998, a colour photograph in which she sits on a toilet smoking a cigarette. In her solo exhibition The Fag Show at Sadie Coles in 2000, she used cigarettes as a material, as in Self-portrait with Cigarettes (2000).
House of Turquoise