Australian artist Ron Mueck’s forthcoming show at Fondation Cartier, Paris (8 June-5 November) will be a physical and psychological journey through the human experience
Ron Mueck, Mass Matériaux divers / Mixed media Dimensions variables / Variable dimensions National Gallery of Victoria, Melbourne, Felton Bequest, 2018Anyone who’s been in a room with a Ron Mueck sculpture has probably felt a few, often conflicting, sensations. The Australian artist is a master of both anatomy and the human experience, from birth to death, and all the beauty and mess in between.
Mueck grew up in the family business of puppetry and doll-making and began his career in film, TV and advertising. Artistically, he had his breakout moment in the 1997 group show, ‘Sensation’ at London’s Royal Academy of Arts, where the artist introduced the world to his sculpture Dead Dad, a three-foot representation of the artist's father. The piece dropped jaws and emotional barriers with its uncanny realism and its profound, agonising embodiment of grief, and parental bonds.
Among them are Mass, 2017, the show’s centrepiece. Commissioned by the National Gallery of Victoria, it comprises one hundred colossal human skulls stacked in a stifling ritualistic tower of mortality and intrigue. ‘The human skull is a complex object. A potent, graphic icon we recognise immediately. At once familiar and exotic, it repels and attracts simultaneously. It is impossible to ignore, demanding our attention at a subconscious level,’ Mueck said of the work.
Mueck’s sculptures induce a hyper-awareness of our own bodies through the meticulous attention he offers his. The resulting sensations are a jarring, visceral sense of unease, but also of awe, in their beauty and surreal reality. Ron Mueck’s studio, Ventnor, Wight Island, United-Kingdom, 2023 Ron Mueck's exhibition at the Fondation Cartier pour l’art contemporain runs from 8 June - 5 November 2023.Harriet Lloyd-Smith is the Arts Editor of Wallpaper*, responsible for the art pages across digital and print, including profiles, exhibition reviews, and contemporary art collaborations. She started at Wallpaper* in 2017 and has written for leading contemporary art publications, auction houses and arts charities, and lectured on review writing and art journalism.
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