Interveiw: Ron Mueck - Faces, Bodies and Flesh. Contemporary take Portraiture
Australian-born sculptor Ron Mueck has captivated audiences worldwide with his hyper-realistic sculptures that challenge perception through shifts in scale and painstaking detail. Known for works like Dead Dad and Boy, Mueck’s ability to blend emotional depth with technical mastery places him among contemporary art’s most celebrated figures. We sat down with Mueck to discuss his creative process, influences, and the enduring impact of his work.
Your sculptures are renowned for their hyper-realism and unconventional scale. What draws you to this approach?
Ron Mueck: For me, life-size is ordinary—it’s too familiar. By altering scale, I can draw the viewer in and force them to engage with the work in a new way. Whether the piece is larger than life or significantly smaller, it changes the way people perceive it. I don’t calculate scale mathematically; it’s more intuitive. I sketch out ideas on paper, and if the proportions feel right, I proceed from there.
Many of your works, like Dead Dad, evoke strong emotional responses. How do you balance technical precision with psychological depth?
That balance is critical. The details—the wrinkles, veins, even the positioning of a hand—are what make the figure convincing. But it’s not just about surface realism. The emotional impact comes from how the figure occupies space and interacts with the viewer. For instance, with Dead Dad, the half-life size compels the viewer to cradle the figure visually, almost like a child. That intimate perspective creates a deeper emotional connection.
You started your career in television and film. How has that influenced your art practice?
Working in special effects taught me about materials, surfaces, and how to manipulate form to convey meaning. It’s a highly collaborative process, and I’ve carried that into my art practice. However, in sculpture, the stakes feel more personal. There’s no script or director—I’m entirely responsible for what the work communicates.
Your subjects often come from everyday life—friends, family, and strangers. What inspires your choice of figures?
I’m drawn to moments that feel universal but are rarely highlighted. The awkwardness of adolescence, the vulnerability of old age, or the tension in a young couple’s body language—these are things we all experience but don’t always examine. My subjects are often quiet, unremarkable moments made monumental through the act of sculpting.
You’re known for being reclusive, yet your works are deeply relatable. How do you think this tension shapes your art?
I think my reclusiveness helps me observe more closely. I’m interested in the small, unspoken details of human behaviour—the way someone fidgets with their hands or the slight slump of their shoulders. These subtleties reveal so much about people’s inner worlds, and I try to bring that to the surface in my sculptures.
Your works are often displayed in museums and galleries with large, open spaces. How does the environment influence your sculptures?
Space is a huge factor. Sculpture isn’t just about the object itself but how it interacts with the room and the viewer. The scale of the piece, the height of the ceiling, the way light hits the surface—all of these elements shape the experience. You can’t predict everything, so it’s always a bit of a surprise seeing the work installed.
How do you feel about the critical attention your technical skill receives?
It’s flattering, but the work isn’t just about technique. The craft is the foundation—it creates the believability—but the goal is to move beyond that. I want the viewer to feel something, whether it’s discomfort, curiosity, or even self-awareness.
Your art has been described as confronting Cartesian consciousness. What’s your take on that?
[Laughs] I don’t think about philosophy when I’m sculpting, but I can see why people say that. My work is about the body—its fragility, its imperfections, and how we relate to it. By playing with scale and realism, I aim to disrupt the way we normally see ourselves and others, to create a moment of reflection.
What do you hope audiences take away from your work?
I hope my sculptures make people pause and see the world a little differently. Whether it’s noticing a small detail in someone else or reflecting on their own experiences, it’s about creating a moment of connection and introspection.
Ron Mueck: Hyper-Real and Beyond
Mueck’s sculptures can be found in major collections worldwide, including the Hirshhorn Museum, Tate Gallery, and Queensland Gallery of Modern Art. His work continues to challenge and inspire audiences with its profound humanity.
