In Made In Heaven, we are face to face with a sculptural apparition, a divine visitation in the artist's studio. It isn't just any object, but an iconic sculpture of the end of the 20th century: Jeff Koons' Bunny.
One key question in this work is of course the construction of images, but there is also the question of sculpture, of the passage from two-dimensionality to three-dimensionality. The reason for using the moving image, above all theoretical, is also part of interrogation regarding the material construction of images. For this film, he remakes Koons's sculpture in order to be able to experiment himself in his studio. One can discern the contours of his studio and sometimes his presence in a lot of his videos. With reference to Marcel Duchamp, he wants to create the ultimate Machine Célibataire (Bachelor Machine), by producing nothing other than itself in reference to the self- reflexivity of Pop.
The Bunny is a sculptural form in space which also produces images. It is obvious that we are in an image which is entirely constructed since it is impossible to film the object without having, at a certain point, the reflection of the camera on the steel surface. Mark Leckey is interested in the possibilities of new technologies and places at the heart of his practice the revelation of a sensitive and quasi-magical world. The film loop (which only lasts 2mn) places the spectator in a completely hypnotic state.