Lucas Goubert (born Marcos Rueda Goubert in Bogotá, Colombia, in 1973) is a Paris-based multidisciplinary artist working across collage, poetry, painting, sculpture, installation, video, and performance. His artistic practice is rooted in the human body, which he approaches as both physical territory and living archive—a place where memory, desire, experience, and identity are inscribed. Goubert began his artistic journey in 1995 with an illustration inspired by Gabriela Mistral’s Último Árbol. The pseudonym “Goubert,” born from a playful combination of his childhood dog’s name and his mother’s maiden name, gradually became his artistic identity. Before dedicating himself fully to art, Goubert spent three decades working in international banking, living between Bogotá, London, Madrid, Algiers, and Paris. A profound burnout in early 2024 prompted a decisive shift toward a full-time artistic practice. Since then, his work has developed through an increasingly immersive exploration of poetry, bodily memory, and human experience. His practice includes the ongoing bodies of work Embodied Reliquaries and Altars to Humanity, in which found and discarded materials are transformed into vessels of memory and meaning. His work has been presented internationally, including at the Durres International Biennale of Contemporary Art, Albania, and the Bienal de Curitiba, Brazil (2026), as well as ARTLAB Luisa Catucci Gallery, Berlin (2025), Atelier d’Orbo, Paris (2024 and 2023), and exhibitions in Madrid, Salerno, Naples, Bogotá, New York, and Paris. Goubert has also developed a parallel practice in performance and film, including My Body Ruptures (2025), presented by Luisa Catucci Contemporary in Berlin, and Fuera de Ley (Lawless) (2025). His illustrated edition Edgar Allan Poe Illustrated Poems, self-published in 2014 in a limited edition of 100, is held in the collections of the National Library of Scotland, the Biblioteca Nacional de Cuba, and the Poe Museum in the United States.
Lucas Goubert (born Marcos Rueda Goubert in Bogotá, Colombia, in 1973) is a Paris-based multidisciplinary artist working across collage, poetry, painting, sculpture, installation, video, and performance. His artistic practice is rooted in the human body, which he approaches as both physical territory and living archive—a place where memory, desire, experience, and identity are inscribed. Goubert began his artistic journey in 1995 with an illustration inspired by Gabriela Mistral’s Último Árbol. The pseudonym “Goubert,” born from a playful combination of his childhood dog’s name and his mother’s maiden name, gradually became his artistic identity. Before dedicating himself fully to art, Goubert spent three decades working in international banking, living between Bogotá, London, Madrid, Algiers, and Paris. A profound burnout in early 2024 prompted a decisive shift toward a full-time artistic practice. Since then, his work has developed through an increasingly immersive exploration of poetry, bodily memory, and human experience. His practice includes the ongoing bodies of work Embodied Reliquaries and Altars to Humanity, in which found and discarded materials are transformed into vessels of memory and meaning. His work has been presented internationally, including at the Durres International Biennale of Contemporary Art, Albania, and the Bienal de Curitiba, Brazil (2026), as well as ARTLAB Luisa Catucci Gallery, Berlin (2025), Atelier d’Orbo, Paris (2024 and 2023), and exhibitions in Madrid, Salerno, Naples, Bogotá, New York, and Paris. Goubert has also developed a parallel practice in performance and film, including My Body Ruptures (2025), presented by Luisa Catucci Contemporary in Berlin, and Fuera de Ley (Lawless) (2025). His illustrated edition Edgar Allan Poe Illustrated Poems, self-published in 2014 in a limited edition of 100, is held in the collections of the National Library of Scotland, the Biblioteca Nacional de Cuba, and the Poe Museum in the United States.
Lucas Goubert’s practice develops through an experimental and instinctive investigation of the image, where poetry, collage, painting, sculpture, installation, video, and performance converge in an aesthetical-spiritual ritual that is simultaneously visceral, fragmented, and hallucinatory. His work moves across different states of perception, combining bodily imagery, found materials, personal memories, and language to construct environments that appear suspended between the real and the imaginary. There is a distinctly psychedelic quality to this research, not as a reference to a specific visual style, but as a way of disrupting ordinary perception and opening the image to other psychological and emotional states. At the centre of Goubert’s practice is the human body, approached less as a subject to be represented than as a mutable material through which experiences can be transformed. Bodies, scars, gestures, fluids, desires, and fragments of memory are continuously dismantled and recomposed. The resulting figures often seem to exist in an unstable space between vulnerability and transformation, intimacy and estrangement, the sacred and the erotic. Goubert’s process begins with poetry. His texts provide a conceptual and emotional point of departure from which images, objects, and performances emerge. Words become visual structures, while images acquire the rhythm and ambiguity of poetry. This reciprocal movement between language and matter is central to his ongoing practice of Embodied Reliquaries, in which the body becomes a container of memory and experience. His use of found and discarded materials further complicates this relationship between the intimate and the material. Cigarette boxes, old mattresses, books, photographs, letters, dental prostheses, and other fragments of everyday life are incorporated into assemblages and immersive installations. Detached from their original functions, these objects acquire a new symbolic and psychological charge. They become fragments of an unstable personal archaeology, carrying traces of bodies, encounters, desires, and histories. Within these environments, Goubert constructs what can be understood as Altars to Humanity: hybrid spaces that borrow from the visual language of relics, icons, rituals, and sacred objects while remaining deeply grounded in corporeal experience. His figures oscillate between saints, martyrs, lovers, and anonymous bodies, creating a contemporary mythology in which spirituality is inseparable from flesh, desire, mortality, and memory. His recent experiments with video, sound, and music extend this fluidity into time and movement, producing works that are less concerned with constructing a stable image than with generating an altered perceptual experience.
ARTWORKS HIGHLIGHTS
SELECTED EXHIBTIONS
His solo exhibitions include ARTLAB Luisa Catucci Gallery, Berlin, Germany (2025); and Atelier d’Orbo, Paris, France (2024).
His group exhibitions include Durres International Biennale of Contemporary Art, Durres, Albania (2026); Bienal de Curitiba 2026, Museu Municipal de Arte, Curitiba, Brazil (2026); Casa4Madrid, Madrid, Spain (2025); Salerno Biennale, Salerno, Italy (2025); Domio Gallery, online (2025); Spazio 57, Naples, Italy (2025); M Maison – ARTBO Galerias, Bogotá, Colombia (2025); Van der Plas Gallery, New York, USA (2025); The Norm, Paris, France (2025); Atelier d’Orbo, Paris, France (2024); and Atelier d’Orbo, Paris, France (2023).
His performances and films include The Longest Night, Paris, France (2026), with global premiere scheduled for Q4 2026; My Body Ruptures, Luisa Catucci Contemporary, Berlin, Germany (2025); and Fuera de Ley (Lawless), Paris, France (2025).
His artist residencies include ARTLAB Luisa Catucci Gallery, Berlin, Germany (2025).
His press and publications include an interview with Art-Squat, United States (2025); and Edgar Allan Poe Illustrated Poems, a self-published limited edition of 100, included in the collections of the National Library of Scotland.