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Artist · Ambivert · Polymath


Hey, I'm Lucas. Nice to meet you.

With each of my disciplines, I express my appreciation for things I see in the world. By exploring my subjects, I unlock the meaning of beauty in my own mind and share that experience with others.

I want to welcome you to my site and my work. The modalities I explore are outlets for different aspects of my consciousness and experience of life. It allows me to work through challenges I experience in dealing with the regular world. By sharing it, I intend that by tuning in to this, I might call your unique processes to the surface. In doing so, maybe the next time you face your regular life, that you might take notice of a detail that you took for granted before. There's a lot to take in, and I think satisfaction waits around every corner if we're looking for it.


A bit about my history

Born August 26, 1979. I'm from Windsor, Ontario. I moved to Toronto at 18, had some life-changing experiences, came back to Windsor, and headed to Vancouver, BC when I was 23 years old. I always knew I would head this way. Mostly, it was the natural beauty of the province that drew me. That, and breathable air and a culture that is more outdoors-focused.  I headed out for the very long drive with a close friend I had met only a year before while playing in a local folk-rock band. We sold everything we owned (save for what we fit in the VW Jetta) and came here with barely enough money to make it to our destination. Shannon pursued his career in acting and I set about building a life centered around being available for the little things in life that make it worth living.

For me, this lifestyle meant the pursuit of personal truth and a life in which I have time to be there for friends and being available to witness the beauty that life has to offer. You could say that I live 'for the view'. The power to witness something (anything) with one's full presence is an unparalleled skill, and delight. I meander around cities, towns, countrysides to find inspiration - especially to capture moments that are simply spectacular and largely unnoticed by the bustling population. I love finding a good spot to sit and watch, to draw, and then to quietly contemplate existence for a while. From my early days living on the Sunshine Coast BC (a countryside close to Vancouver), I was able to spend time both in the wild and in cafes. I can say that I was among the early ones staking claim to the lifestyle of working on a laptop from wherever I damn-well pleased...and I sacrificed a lot to stay with it.

My routine evolved with the dawn of good camera phones. I began to snap some photos of the places I visited and worked in. 

After years of toiling as an employee, I had transformed myself to be a solo entrepreneur. This process led me to provide many types of services over the years. Each has contributed to both my technical skills and to evolving my approach to life in general. For a time before the 2008 recession, I was selling prints and doing art commissions almost full-time. I started to offer my computer tech and web design skills for money when things got hairy from 2008 onward. Living on the West Coast of Canada is not cheap, but if you can make it, I would say that it's worth the struggle.

The environments here are at levels of an unreal beauty, and a peaceful escape is always around the corner. I'm both a city guy and a country guy, and I have moved homes over 50 times in my life so far, staying in places ranging from deep downtowns to far countryside retreats.  I love changing the scene and changing my perspective. Thus, I spend a lot of time walking around and driving my car and motorcycle to find new adventures.

These days I hope to find a way to bring back my art career in a more stable and long-term fashion so that I can spend more time in this creative zone. I love doing things that inspire myself and others, such as my weekly emails.  Below, are short stories relating to each of my artwork modalities and major projects.        


Wholesome Sexy Art


Beginnings

Since I was a teenager, I have been drawing women. I remember being in my french Catholic grade school, sneaking into the bathroom during recess with a few buddies to show them my latest interpretation of beauty. It was a total faux-pas in my environment, but I felt like it needed doing and I was captivated. Undoubtedly, the girls in the class found me to be sweet, but also an oddball. This seemed to be my reputation with most of the kids though and I dealt a lot with being bullied by the tougher boys. Though it did seem that most everyone liked me. The teachers appreciated my gentler nature and the fact that I was pretty easy to read as a person. One of my classmates with whom I shared a friendly rivalry, would challenge me to a drawing duel to see who could draw the most attractive woman. I noticed early on in seeing the porno magazines these kids were circulating that something was missing in a lot of the material. I felt even then, that something more needed representation. Later, I came into contact with some fine art, that seemed to address this sensibility. I found one, located in the restrooms of a friend's house and the others at my uncle John's. The Picasso "femme", and my Uncle's 3 piece collection located (don't ask me who the artist was) in his hallway were pencil sketches of a woman in a bathroom prepping herself for the day. The idea of the graceful but sexually toned feminine figure, on her own in an intimate setting was compelling. It seemed to have been part of what validated and shaped my purpose and approach to drawing. Of course, as you might presume, Japanese cartoons were part of the influence that transformed my aesthetic from realism (which previously was my mainstay) to a more stylized approach. I felt that the cartoon approach and colours were fast and effective in capturing the essence of an idea.


Previous conditioning and breaking chains

A bit of a late bloomer, I had my first sexual relationship at 19. This lent me the opportunity to notice some blocks and feelings of shame I had around the notion of my body, sex, and relationships with women. I began to question the influences present in my life, including my Catholic religious conditioning, and my preconceptions about the relationship between my mother and father - which had crashed and burned 3 years earlier. It kicked me into a lifelong pursuit for a deeper emotional/physical truth that continued through to my move to Vancouver, BC Canada.  There, I took it upon myself to get comfortable with my own naked body, in public... Wreck Beach is a place that has a whole body-positive culture built around it. I felt like my drawings could also help me through my process of understanding why and what I am attracted to when it comes to the subject of women. I wanted to decode what, for a man, is the thing that can make us lose our minds when we witness a woman we are attracted to... even before we really know her. It also became more important to me, that I outline the individual essence of the characters in my drawings which led me to create commissions for women, depicting them in a sort of stylized essence of themselves. Subsequently, I became aware of how my own individual essence was reflected in my characters, and it became a type of therapy/self-study tool.

The future brought several experiences including years spent working at a phone sex company, an exploration into the sex-positive culture, BDSM, and alternative relationship style scenes. Here, open mindsets about sexual relationships and relationship styles are a standard. It seemed that in many cases, popular culture was missing the mark when it came to nudity, sexual relationships, and the "whole" person.

A different level of this expression came with my Cheeky Oracle Deck project. Bringing words with philosophical ideas to shed a contrasting, yet complementary light on the figures I draw has been known to help many people who are working to sort out who they are in this world.  My current 'ZeroSupervision' comic vignettes and book are also made with this idea in mind.

Today

Like with my other styles of work, I intend to inspire through a sense of appreciation. Witnessing a person in their fully expressed 'self', and especially as I look for this in the women I meet, is one of the nicest things about my life. It never gets old and my hope is by sharing my perspective, I can draw out the intrinsic things (in people of all genders) that help them to express their broader selves in a way that brings light to everyone.


Optical Orgasms

Ever since I put my hands on a phone that could take decent pics, I started taking them. It was never appealing to me to lug around a monstrosity to perhaps come upon a photo opportunity here or there. Instead, as I look around for the next cool spot to be at on any given day - the chance always arises to capture a moment.  This, arguably wouldn't have happened if I had instead been trying to find a photo of something. Instead, I could just be walking along, chatting with someone, riding my motorcycle on the highway, and then 'holy shit' I have to stop.

I make sure to always take a moment and absorb a scene with my eyes, and my spirit before taking a photo. And, as far as the photo opportunity is concerned, it's not only the scene or the objects themselves...but the frame that makes itself available to me that is special. Anyone who knows something about design is aware of directional vectors and negative space. For me, this is critical. I will NOT take a photo if the frame just doesn't feel right, I don't care how nice the scene is. I can enjoy that scene with my own eyes, but there's a time to take a photo and there is a time not to. It seems that many photographers take 50 shots of something, to make sure they get a winner. To me, this is taking a machine gun to a sniper rifle party. While I appreciate the chance aspect of this, I don't really relate to it. The chance for the photo is here, and it's calling to me. I need to pay attention and tune into it. Either capture the truth of the moment or don't. That's how I shoot. 

Recently, I have been hounded by friends and web design clients alike to share my photography as a serious part of my work and as such, has found its way into my portfolio.

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Dreamy Digital

When I was in high school circa 1997, I was one of the first kids to get my hands on 3D animation software. I acquired 3D Studio 4 for DOS, which took 24 x 3.5" disks to install. I learned about how to apply graceful movement to my designs. I then brought my creations to multimedia video class. To many of the students' surprise, I had introduced a new type of production power we hadn't seen before. I already had experience building in AutoCAD, so my 3D modeling skills were able to take on a whole new life. Together, with my friend Gabe who decided to put his efforts into lighting and texture design, we traded notes and created some pretty cool things. The teachers, in fact, employed us (for free) to teach some classes on the subject.

After high school, I sort of lost interest in the animation aspect of things, as it was feeling too technical and drawn out for what I wanted to express. I focused back on illustration. Moreover, in the words of a Sheridan College student I met, I wanted to say a thousand things with one picture, rather than saying one thing with a thousand frames. Fast forward to 2006, I got my hands on a landscape modeling tool called Bryce 3D. My father had been working on creating some music albums and needed album art. I thought his work might well be presented with something pretty ethereal.  Bryce made things that previously took forever to create, far quicker and easier. I could focus more on the art itself. So, I did a small series of these to use in the CD cover designs.  I also sold prints of this work separately as an artist. However, at the time (2007), digital art was still a budding thing that was largely considered to be not 'real'.  I resumed work on my wholesome sexy drawings of cartoon women, and on my very first handmade version of the Cheeky Oracle Card Deck

So, the Dreamy digital work took a backseat until recently, when I became aware of the NFT (non-fungible tokens) marketplace and caused me to notice that digital art is taken very seriously these days by many. I went ahead and downloaded the very last version of Bryce 7.0, re-rendered my old work into higher-res and I have plans to make some new ones.


Sensual Minimal

I got into creating what I called the 'Gaudesse' collection back in early 2014 when I was living at Xenia Centre on Bowen Island, BC. I was there on a work-trade basis for website design/maintenance services. At that time, I was fairly busy with technical work and found it extra challenging to jump from the left-brained calculation mode to the more malleable creative space I need to occupy when working on my drawings of women. It was then that I thought I might try to draw only what it is that represented the essence of my process. I invented a new approach that gave me the same satisfaction in a fraction of the time. It served also to better call me into that headspace when I was otherwise having trouble. It started on paper with a graphite pencil (as most of my drawings do), but a year later evolved into a larger format with acrylic paint and pen.

I moved back to the city and sold a number of medium-sized pieces. I then created an extra-large (5x4 foot) piece that I called 'The Letter Zen'. The idea came to me in a sushi restaurant, which I sketched on a napkin. It depicted a side view of a woman sitting at ground level - sort of like a reboot of that classic silhouette design you see pasted on so many long-haul trucks.

The thing about this artwork is that, while simple in nature, it took absolute faith in my abilities. Painting a single line of black on a stark-white (often expensive) canvas is scary business. Trying to patch a mistake like that (and I have tried) is nearly impossible when you're using Titanium White. I would prep the canvas and use a stark black paint marker that I had prepared with thinned-out acrylic ink. In a single sudden motion, the painting was either a complete success or an abysmal failure. Therefore, I was required to prepare myself by inducing a meditative process in which my full intent (despite my reservations about the risks) could be transferred seamlessly onto the surface, without hesitation when the moment came. It was a great exercise and it also happened to produce some pretty nice art.


Modern Gods

I got into this work when I saw a piece of artwork that had been made with the same idea in mind. I loved the concept of motorcycle in a classic art scene but I felt the execution could be better represented. I have been a graphic designer & editor ever since I had a computer and I usually end up using these skills for work. In the spirit of having some fun with my skills I thought I would try my hand at 'Photoshopping' something, but in an artsy way.

This became a study, a way of exploring classic pieces in a deeper way. It came to create a doorway to the gods of old through the lens of what we might consider being gods today - technologies in particular. Any rider will tell you that there is a sort of exaltation and elation that comes with the experience of riding and beholding your machine (and those of others). It puts us in touch with something primal, and real - in a way that much of modern culture can no longer offer us. I loved this exploration and made a few more. One of them didn't include a motorcycle at all but instead deified big social media platforms, in a sort of apocalyptic nuance. You can see them all here.

Pidgin Quixote

In 2012, my bud Tone Floreal asked me if I wanted to take a spontaneous trip to Honolulu as a trade for doing some website work with him. We hung out at Waikiki beach quite a bit on that trip. One morning, I happened upon two white pigeons in a courting situation. I called Tone over and we both watched as the male pigeon practiced what seemed to be a rare mating style compared to that of regular rock pigeons. This bird had a unique style of approaching the females; he was very careful and patient, choosing the right moments to inch closer to her on the branch they were perched on. Unlike common pigeons, he didn’t puff out his chest or chase her around, he simply gauged the situation and approached warmly and honestly which in the end landed him the lady! 

Years later, I was going through a bout of depression and frustration relating to career challenges and Tone advised me to 'Mock da Flock' and be like the pidge. At that moment, I saw a visual of the pigeon in a sort of vector format. While still on the call, I feverishly drew the pigeon on my computer and presented it to Tone. He loved it, and we started a list of pigeon puns while I cranked out the designs. A half-year later, we had over 100 of our ideas in the form of graphics. It was therapy for me, therapy because it didn't matter. It wasn't connected to anything I was doing seriously in my life.. and it was fucking funny. The 'Pidgin' reference was to the local Hawaiin slang speak that dovetailed so well into the theme. People jumped right on with their own pigeon puns whenever we shared them and it started a bit of a craze. 

Since that time, we drew inspiration from this bird using him as a healthy reference point for authentic living. He is a constant reminder to take charge and live bravely in our own individual styles.

On the heels of that inspiration, I developed Da PeckDeck to help bring some of Pidgin Quixote's wisdom to those in need of it.


Thanks for reading, you can head back to the Welcome page to look at some of my work.

Lucas Gaudette

Lucas Gaudette


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