New generation sculpture

Several key sculptors distinguish themselves on today’s art scene through the power of what they convey to the audience. In spite of their differences in styles and techniques, they seem to form a cohesive movement that sees a new era of sculpture unfolding. That of a type of sculpture that has an immediate impact, be it by shining a light on technology and its implications for our humanity, or more broadly, on loneliness, which they allow us to feel in our flesh as never before. Today, these works of art constitute an unprecedented threshold in the history of sculpture where intimacy and alienation coexist.

Ron Mueck did not wait for the emergence of the smartphone to innovate. For more than 25 years now, this Australian artist has been sculpting hyper-realistic statues, in surprisingly unusual dimensions. After having closed his acclaimed exhibition in Paris last November, the Fondation Cartier pour l’art contemporain, in partnership with the Triennale Milano, subsequently presented the first Italian exhibition of the artist, which included some of his more recent and impressive work.

Indeed, each one of his exhibitions shakes the art world and deeply moves the audience, with his fascinating characters who seem as though made of flesh and blood. From the most subtle vessels to the thinnest hair, no detail is neglected. Yes, Ron Mueck has, so to speak, the ability to recreate the human being. However, he intentionally creates statues either in larger-than-human dimensions to restore the importance of beings that are sometimes overlooked, or beings which are under-dimensioned, in order to underline the fragility of the character. Characters who appear to be naked, lonely, almost interrupted in their inner conversations with themselves, and which reinforces the feeling the audience immediately gets of being shamelessly interfering in a private moment; an instant so personal, imbued with an almost uncomfortable vulnerability. That is exactly what we feel when in front of his Mask II: a self-portrait of the artist asleep, which we contemplate stealthily as if he was to wake up at any moment.

As to his sculpture of a giant baby entitled It’s a girl, she seems to be boldly interrogating us about the future we have to offer her.  A frail, dependent being, who paradoxically imposes itself in all its importance, as if to illustrate the weight of our responsibility towards her. And the weight, massive too, to be born a girl in this world.

His monumental sculpture Pregnant Woman has been acclaimed in Australia since the 13th of April, within a partnership between the National Gallery of Australia and the Maitland Regional Art Gallery, which has been entrusted with this sculpture for 18 months. Director Gerry Bobsien declared: “We are thrilled to present this work, as Ron Mueck is one of Australia’s most internationally accomplished artists. We are presenting Pregnant Woman in conversation with our own collection (…). This will have enormous impact for regional audiences.”

A sculpture that puts the spotlight on maternity, and showcases the intimate, personal emotion of a mother made a giant; her presence will be the pretext for debates and discussions which will take place at the MRAG throughout the exhibition period. And here lies Ron Mueck’s intention: to give the central place back to these individuals he immortalized in daily scenes that could seem mundane, and which are nevertheless rich with a sacred essence we sometimes lost the ability to see.