In Search of the Missing Artist | Part 2 | The Plastic | Background Briefing podcast

Key Concepts

• Finish Fetish: An art movement originating in 1960s Los Angeles characterized by the use of industrial materials and processes to achieve a glossy, slick, and flawless surface.
• PMMA (Polymethyl Methacrylate): A transparent thermoplastic, commonly known as acrylic or Perspex, used in the creation of the sculptures discussed.
• Nom de plume: A pseudonym or pen name used by an artist to maintain anonymity.
• Contractual Conflict: A situation where an artist signs overlapping or contradictory exclusivity agreements with multiple galleries.
• Supply Chain Traceability: The process of tracking the procurement of raw materials to verify the origin and production location of finished goods.

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1. The Investigation: Anya Pesce vs. Jean-Paul Mangeon

The investigation centers on the disappearance of an "internationally acclaimed" French artist, Jean-Paul Mangeon, and the suspicion that his identity and work are fabricated. The primary subject, Australian artist Anya Pesce, creates sculptures using industrial plastics. She alleges that after she left the Studio Gallery Group (SGG), the gallery introduced Mangeon, whose work bears a striking resemblance to her own in material, color, and technique.

2. The Artistic Process and Methodology

Anya Pesce’s work involves a rigorous, labor-intensive process:

• Material Manipulation: Using industrial ovens to heat PMMA sheets, which are then molded by hand within a two-minute window before the plastic hardens.
• Technical Execution: The goal is "absolute perfection," requiring the removal of any "mark of the hand," fingerprints, or signs of struggle.
• Scale and Installation: Larger works (up to 3 meters) require complex rigging, including pulleys, ladders, and assistance from fabricators, to achieve their final form.

3. The Conflict: Contractual and Professional

Anya Pesce’s departure from Studio Gallery Group was triggered by a conflict of interest. She had signed two contradictory contracts:

• M Contemporary (Sydney): Granted exclusive rights to sell her work in New South Wales.
• Studio Gallery Group: Granted rights to sell her work anywhere. When SGG began selling her work in Sydney, she was in breach of her M Contemporary contract. Upon her departure, SGG gallerist Kerry Armstrong claimed she had been "waiting" to show Mangeon, implying his work was a pre-existing, separate practice.

4. Evidence of Discrepancies

The investigation uncovered several inconsistencies regarding Mangeon’s identity:

• Confused Staff: Gallery employees were unable to distinguish between Pesce’s work and Mangeon’s, often misattributing pieces to the wrong artist.
• The "Paris" Narrative: SGG marketed Mangeon as a Parisian artist whose works were shipped from France.
• Material Sourcing: Investigative journalist Julia Bergin discovered that SGG purchased specific colored acrylic sheets from an Australian supplier (Mitchell Plastics) in late 2021—shortly after Mangeon’s work began appearing. The colors and finishes of these local purchases matched the works attributed to Mangeon on social media.

5. Legal and Ethical Stance

• Anya Pesce’s Allegations: Through legal counsel, Pesce alleged copyright infringement and requested documentation regarding Mangeon’s background, qualifications, and shipping records.
• Gallery Response: SGG and its directors, Kerry and Michael Armstrong, refused to provide evidence, citing Mangeon’s "trauma" as a reason for his anonymity. They later employed aggressive legal tactics (defamation threats) against journalists and media outlets to suppress the investigation.
• Gallery Statement: SGG maintains that Mangeon is a real artist using a nom de plume and that the investigation constitutes a "harmful campaign" against a protected artistic practice.

6. Notable Quotes

• Anya Pesce: "You come to something unique... and then the easiest thing is for someone else to copy it."
• Studio Gallery Group (via legal statement): "There is no legitimate public interest in exposing the identity of an artist whose work is lawfully created and sold, and whose anonymity is protected for legitimate reasons."

7. Synthesis and Conclusion

The investigation highlights a significant tension between artistic integrity and the commercial interests of galleries. While the gallery defends the right to anonymity, the circumstantial evidence—specifically the local procurement of materials in Australia that match the "French" artist's output—strongly suggests that the narrative surrounding Jean-Paul Mangeon may be a fabrication. The case remains unresolved, with the gallery refusing to provide transparency and the artist, Anya Pesce, continuing to seek answers regarding the potential appropriation of her unique creative practice.