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hurrengoa
ron mueck,the wicked unbounded dimensions of hyperrealism odlok   Ron Mueck waded through the world of craftsmanship before arriving to the world of “official” art. He made puppets for films and TV shows in his native Australia. Like almost every other Aussie when young, he packed his bags, said goodbye to the island continent and set off to explore the big wide world. He still hasn’t managed to get back home. He set up his own workshop in London and worked at building gadgets and other “animatronics” stuff for cinema and advertising. His high-precision technical ability soon afforded him great success in the audio-visual world. However, all of his work was always created from a camera perspective and that hindered total fulfilment for Mueck from an artistic point of view. In 1996, he decided to “complete” his creations. Said and done. That year saw his creations become sculptures. All of Mueck’s sculptures are based on the human body. The human body is Mueck’s starting and finishing point, in its wholeness or in parts. Even though his work is hyperrealist, his sculptures are not made to scale. Not only does his work clearly show an innate ability to copy textures and great craftsmanship, it is also capable of going that little bit further. His work can provoke doubt, surprise and uneasiness in the spectator. His sculptures avoid the copy concept and that is why the size and scale of them is so important. The clash of exact realism and unbalancing dimensional scaling is contradictory and it is this contradiction that can move the viewer. At the beginning of this century, famous businessman and collector Charles Saatchi was captivated by his work and started to collect pieces by him. He achieved international recognition with “Dead Dad”. He made a hyperrealist sculpture of his dead father using silicone and his own hair. The sculpture was scaled down to two-thirds the size of his real father. Like it or not, Mueck’s sculptures leave nobody cold due to the beauty of the contradiction they communicate: they show us that, on the one hand, humans, almost instinctively, are continually searching for perfection, and on the other, that this sought-after perfection actually creates monsters...