Home » In Bristol, the “Moona Lisa” shows the rear

In Bristol, the “Moona Lisa” shows the rear

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From today the art purists and the “revanchists” of the Mona Lisa exhibited in the Louvre have one more reason to turn up their noses. Nick Walker’s “Moona Lisa” has just been presented at the exhibition entitled “Vanguard”, dedicated to the avant-garde of Bristol street art. The event is hosted inside the M-Shed in Bristol, a museum that collects the works of city artists, including the legendary Banksy.

The space exhibited a bronze version, to say the least irreverent, of Leonardo da Vinci’s Mona Lisa. The sculpture is life-size, and portrays the mysterious muse of Leonardo in a pose that leaves little room for misunderstandings: the left hand on the hip that collects the robe and shows the lower back, the knees slightly bent and the head turned backwards, to watch the viewer as they watch the scene. Only the smile, forced and a hint of hair, seems vaguely reminiscent of the original.

The author is Nick Walker, another high-sounding name in world street art, who, like Banksy, came out of the lively underground scene of Bristol in the 1980s. Banksy himself had challenged Walker some time ago, saying that “nothing else can be done using the Mona Lisa as a subject.” The reference was yes to Leonardo’s masterpiece, but above all to another version of the “Moona Lisa”, also by Walker, created as a spray painting in 2006. At that time the artist had achieved a tremendous success, so much so that in 2008 the painting it was auctioned for 54,000 pounds by Bonhams in London, exceeding its market value by ten times.

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And here Walker picks up the gauntlet of his friend Banksy, condenses that pioneering vein, strongly anti-system and lover of mockery that is in the DNA of street art, and brings out his “Moona Lisa” 2.0. To achieve the 260-pound figure, we started with setting up a scaffold capable of supporting 160 single-lens reflex digital cameras, to capture a 360-degree image of a model dressed as a Mona Lisa. From the digital “cast” then, Walker moved on to a real one, used to insert the bronze and obtain the final effect.

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