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RON MUECK
NOVEMBER 19, 2005—FEBRUARY 19, 2006
MEDIUM AND TECHNIQUE
Ron Mueck’s sculptures captivate the viewer though their physical realism, from their
poses to the minute details of their skin. Their magical appeal is the result of a lengthy, meticulous process that
brings several factors into play: manifest talent, a precise knowledge of anatomy, and extraordinary technical
savoir-faire. Ron Mueck either personally carries out or is closely involved in each step of the creative process
in his studio. When making larger or multiple works, he sometimes requires the help of assistants.
The artist begins by crafting a series of small plaster maquettes, a process that allows him
the opportunity to study the possibilities for the figure’s position. When the pose is determined he makes
decisions about scale, often making a series of drawings in different sizes before reaching a final conclusion.
Next Mueck sculpts the figure in clay incorporating all the fine details of expression and skin texture that
appear in the finished work. If the artist is making a very large figure, as in the case of In Bed, he first creates
a metal armature which is then covered by wire mesh and swathed in plaster strips before being covered with
modelling clay.
When the clay sculpture is finished, a uniform coat of shellac is applied over the entire
surface so that the clay will not dry out. A mould is then made of the sculpture using silicone, which captures
all the details of expression and skin texture, supported by fiberglass to hold the shape. Sometimes it is
necessary to construct the mould in sections so that it can be removed from the sculpture with greater ease.
To fabricate the sculpture itself, Mueck first applies a layer of gel-coat which incorporates
pigments on the interior of the mould, giving the skin color and depth. Depending on the size of the sculpture,
the artist then paints layers of fiberglass or silicone into the mould until the required thickness and density are
attained. Fiberglass is generally used for large scale works. It is much stronger and has the advantage over
silicone that any seams still visible after the casting process can be filed and polished away. When using
fiberglass, individual hairs are glued into holes that have been drilled by hand. Silicone is much softer and has
the advantage that hairs can be individually punched into the surface, which looks more authentic. As a result
the artist will often cast a silicone face for large fibreglass sculptures so that facial and head hair can be applied
with greater ease.
Removing the sculpture from the mould is not an easy process. Great care must be taken
so that the silicone is not torn or stretched. Once removed, any seams are polished away and the artist will
paint finer details such as veins and blemishes on the surface. Finally, the artist turns his attention to the eyes,
which he sculpts himself and then puts into place, bringing his creation to life.
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