On 8 October 2010 an exhibition of around 20 new pieces by Mauro Perucchetti, will open at Halcyon Gallery, 24 Bruton Street, London W1J 6QQ. This is Perucchetti’s second show at the gallery, following the success of Apopalyptic in 2008.
Perucchetti presents a critique of our society with his remarkable sculptures created from a variety of materials including coloured polyurethane resin, gold leaf, Swarovski crystals, and a new medium for him, marble. The works in this exhibition can be divided into three groups: Modern Day Heroes, Hip Pop and Daily News.
Perucchetti, a self-confessed news junkie, takes much inspiration from current affairs and world politics. In the group Daily News is a sculpture entitled Trojan Virus. It depicts six one-foot-high gold leaf horses in the style of the Terracotta Army bearing naked Chinese girls made from resin. This sculpture alludes to the seduction of successful CEOs in the west by girls from the east in order to discover trade secrets. It is also a reference to the debilitating computer virus.
Hip Pop refers to the sampling of different cultures, mediums and ideas to create art using pop imagery. Included in this group is Widely Abused, an hour glass covered in gold-leaf skulls, in which Swarovski crystals filter through into dust. This alludes to the artist’s feeling that life, and the time we are given, is precious and not valued in the way that it should be.
Modern Day Heroes consists of three sculptures which reference the Old Masters with a satirical twist. A life-size marble sculpture of Batman and Superman taking as its inspiration a motif from Michelangelo’s Sistine Chapel will be on show. Another, entitled Michelangelo 2010, depicts Michelangelo’s classical David remodelled as a woman. There’s something about Mary presents us with the haunting figure of a pregnant Virgin Mary shrouded in chainmail; the protective element to the chainmail hinting at the vulnerability of a pregnancy, the shroud-like way it hangs immediately invites us to think of veils and burqas.
Perucchetti’s aesthetic harkens back to the streamlined Arte Povera movement that grew as a hybrid of pop and political art in 1960s Italy. It is a re-imagination of traditional pop art sensibilities, a mirror of the material desires and needs of our society today.