Rachel Kneebone’s contemporary sculptures are currently on display at the Wallace Collection, a historic art museum in London. The exhibition, titled "Metamorphoses," features nine of her works created between 2017 and 2026, placed strategically among the gallery’s renowned collection of European masterpieces. Kneebone, a British sculptor born in 1973, was invited to exhibit after following in the footsteps of notable artists such as Damien Hirst, Flora Yukhnovich, and Grayson Perry. This exhibition marks a unique collaboration between modern art and classical art, inviting visitors to see familiar works through a fresh lens. Kneebone’s sculptures are made of porcelain, a material typically used for everyday objects like plates and teacups. However, she transforms it into intricate, often unsettling forms that evoke a range of artistic influences, from the fragmented figures of Auguste Rodin to the provocative works of Jake and Dinos Chapman. Her pieces also draw inspiration from classical art, including decorative friezes, elaborate baroque fountains, and ornate rococo paintings. These influences are reflected in the organic, sometimes chaotic, structures she creates, blending historical references with contemporary sensibilities. One of the standout pieces, "Temple," is displayed on a plinth at the top of the stairs, placed between two 18th-century paintings by François Boucher: "The Rising of the Sun" (1753) and "The Setting of the Sun" (1752). The sculpture features three columns, a tangle of barnacle-like growths, and a gleaming scallop shell containing a pearl, echoing the bejeweled water nymphs in Boucher’s works. In the billiards room, "Dance" (2017) is described as "perfectly imperfect," with exaggerated legs and toes emerging from a large, cracked mass. These imperfections are a result of the firing process, which can cause blisters and fractures in the porcelain. Other works, such as "Pearl IV" (2025) and "Pearl II" (2025), are placed on either side of Boucher’s "Jupiter and Callisto" (1769), with their smooth, creamy forms evoking the figure of Callisto. The juxtaposition of Kneebone’s modern sculptures with the classical paintings encourages viewers to reconsider the familiar. In another part of the gallery, "Bower" (2026) is placed in front of Fragonard’s "The Swing" (c.1767–68), drawing attention to the silvery tones in the painting and the bright white of the porcelain. The cracks in Kneebone’s sculptures are not only a byproduct of the kiln but also a subtle nod to the strained relationship depicted in Fragonard’s work. The exhibition challenges traditional notions of domesticity and beauty, embracing the imperfections and instability that arise in the ceramic-making process. By placing Kneebone’s contemporary works alongside the museum’s historic treasures, the exhibition offers a delightful and thought-provoking experience, encouraging visitors to see both old and new art in a new light.