LONDON.- Ronchini is presenting, I know I Mountain Dew it for ya, the first solo exhibition of works by Jessica Wilson at its Mayfair space. Featuring an all new, site specific collection of work that continues the artist’s ongoing inspiration of the conjunction between classical painting and contemporary expression.

By subverting the gallery into Venus’s sacred grove, Wilson invites the viewer to walk into and physically interact with her own rendition of Botticelli’s Primavera, showing a continuation of the artist’s signature integration of furniture elements within her installations. In this exhibition, Wilson elevates this concept into a three-dimensional and interactive interpretation of the Primavera.

At the heart of the exhibition is a lounge chair (made by the artist) which serves as a modern throne for Venus, the goddess of love and beauty, inviting guests to engage with the artwork in a way that surpasses traditional viewing. Wilson explains: “I envision the gallery as a sacred grove where Venus reclines, merging classical symbolism with contemporary form. This is not just an exhibition to look at; it’s an experience that encourages interaction and contemplation.”

The lounge chair is surrounded by paintings which promote strikingly simplistic brushwork, showing how the artist encapsulates perfectly the inspiration drawn from the botanical elements of Botticelli’s masterpiece, resulting in a vibrantly dynamic set.

Wilson is particularly captivated by the figures of Flora and Zephyr, interpreting the paintings featured in the show as “portraits” dedicated to these two mythological figures. Flora and Zephyr complement Venus in Botticelli’s composition as Zephyrus embraces a nymph named Chloris before kidnapping her, she is also portrayed after her metamorphosis becoming the spring goddess, Flora. This sense of transformation is cleverly mimicked within Wilson’s work as the amalgamation of traditional themes and contemporary aesthetics creates a dialogue between past and present, inviting visitors to reflect on the everlasting nature of beauty and love. Despite her “absence”, Venus is summoned by the artist in a playful manner, as Wilson titles her paintings after popular love songs: “By using titles from love-themed pop songs, I aim to make the classical influence more accessible and relatable. Love is a universal theme that transcends time, and I want visitors to see these connections.”