Thirty giant lobster sculptures have arrived in Pompeii as British pop artist Philip Colbert unveils his largest-ever installation. Blending mythology and contemporary culture, the exhibition transforms one of the world’s most iconic ancient sites into a dialogue between past and present.
Visitors exploring the ancient ruins of Pompeii this summer may stumble upon an unexpected sight: towering lobster sculptures standing among Roman villas, ancient streets and archaeological remains.
The surreal intervention, which began last week is part of Philip Colbert in Pompeii: Pop Mythology, the British artist’s largest exhibition to date. On display at one of the world’s most celebrated archaeological sites are more than 30 monumental lobster sculptures, creating an unusual conversation between antiquity and contemporary pop culture.
Known for his colourful alter ego The Lobster, Colbert has built an international reputation by reimagining art history through the language of pop art. Frequently described by critics as the heir to Andy Warhol, the London-based artist has staged large-scale public installations from London and Venice to Seoul, Singapore and Shanghai. Pompeii, however, marks his most ambitious takeover yet.
The exhibition is also a milestone for the archaeological park. It is the first contemporary sculpture exhibition in Pompeii in 30 years, and the first time an artist has exhibited inside the ancient city’s houses.
For Colbert, Pompeii is much more than an archaeological landmark.
“Pompeii is, for me, the ultimate city of antiquity — a place that exists beyond time,” he says. “I can’t think of a more powerful setting in which to create a sculptural dialogue about time, identity and the ways art can transcend its limitations.”
Inspired by the famous lobster mosaic in Pompeii’s House of the Faun, the installation features 12 new sculptures created specifically for the site. Stainless-steel lobster figures appear unexpectedly between columns, temples and ancient homes, while monumental black steel works depicting futuristic robotic lobster warriors evoke what Colbert describes as “future mythological relics”.
The artist hopes these imagined creatures will encourage visitors to see Pompeii from a fresh perspective.
“The ruins of Pompeii embody both tragedy and beauty, and the city itself feels suspended between past and present,” he explains.
Rather than treating Pompeii as a frozen monument, Pop Mythology presents it as a living cultural landscape where classical mythology, archaeology and contemporary visual culture can coexist. Themes of mortality, civilisation, memory and humanity’s relationship with technology run throughout the exhibition, inviting visitors to reflect on how societies preserve their histories while imagining their futures.
The wider programme will also include meetings with schools and local associations across the region, reinforcing Colbert’s ambition to connect contemporary art with local communities as well as international visitors.
The exhibition also extends to Longola, Boscoreale, Oplontis, Villa San Marco, Villa Arianna and the Real Polverificio Borbonico, creating a contemporary art trail across some of Campania’s most important archaeological sites.
Whether seen as playful, provocative or unexpected, Colbert’s giant lobsters offer a striking reminder that even one of history’s best-preserved ancient cities can still become a canvas for new artistic conversations.
Philip Colbert in Pompeii: Pop Mythologyruns until early 2027 at the Archaeological Park of Pompeii.
