Aziz Anzabi

Persian Contemporary Art by Aziz Anzabi - Mars Unknown Dream 2

2021

Bronze sculpture Aziz Anzabi is a British artist with Iranian origins born in 1970 who lives & works in London, UK. He exhibits many artworks in the U.S, the Netherlands, and Iran....

Bronze sculpture Aziz Anzabi is a British artist with Iranian origins born in 1970 who lives & works in London, UK. He exhibits many artworks in the U.S, the Netherlands, and Iran....

Bronze sculpture Aziz Anzabi is a British artist with Iranian origins born in 1970 who lives & works in London, UK. He exhibits many artworks in the U.S, the Netherlands, and Iran....

Bronze sculpture Aziz Anzabi is a British artist with Iranian origins born in 1970 who lives & works in London, UK. He exhibits many artworks in the U.S, the Netherlands, and Iran....

Born in 1996, Thomas Waroquier lives and works in Paris. He obtained his diploma in metal sculpture with the congratulations of the jury in 2017 at the National School of Applied Art...

Monica Piloni was born in Curitiba in 1978 and graduated from the Paraná School of Music and Fine Arts in 2002. She lives and works in Brussels, Belgium. Looking at her work as a whole, one can see the artist's interest in the representation of the female figure, which began as a consequence of having her own body as a living model. Most of her works have a common feature in the way they are constructed: mirroring. This feature distorts the body by omitting or multiplying elements, creating another dimension in the perception of the human figure that attracts at the same time as it repels. In this way, Monica reflects on the female experience, which includes subjective procedures for adapting to characters, patterns of behavior and archetypes, fashion and cosmetics, as well as physical procedures such as mutilation and other body modifications...

Aluminum sculpture 54 x 25 x 16 cm Born in Thessaloniki, Greece, Kostis Georgiou studied stage scenery in Florence (1981-1982), painting and sculpture in the School of Fine Arts, Athens (1982-1986) with Dimitris Mitaras and Dimosthenis Kokinidis, as well as at the Royal College of Fine Arts, London (1985-1986) with Peter de Francia...

Guillaume Lachapelle’s work combines the real and the imaginary to create miniature environments and scenarios that showcase connections between humans and their everyday worlds. In Extrapolations, Lachapelle extracts seemingly mundane mechanical objects from a typical cityscape – such as radiators, fire hydrants, and balconies – and manipulates their appearance by creating 3D printed models that visually oscillate between the magical and the monstrous. In some of his sculptures, Lachapelle uses photogrammetry – a method that scans a series of two-dimensional photographs or images to create three-dimensional models. While photogrammetry typically enables real-life objects to be accurately reproduced, the artist challenges this paradigm by tampering with the machine’s process, both by accepting the machine’s glitches and by triggering them. When scanning images, the results may not always be what is anticipated, however, for Lachapelle it is about welcoming the unknown. In several examples, he encourages the program to read screenshots of images and extrapolates what should be there, filling in blank data with added images and various shapes. The resulting sculptures are symmetrical and geometric, appearing uncannily familiar like human vertebrae, yet unfamiliar in fantastical abstracted forms. The sculptures merge between two different worlds, bridging human and machine through unexpected adaptations to everyday things. Extrapolations balances between this duality, ultimately reflecting on the increasing dependency humans have on technology in our everyday world. For Lachapelle, this is especially pertinent in a world where technology is continuously developing. The sculptures highlight the dynamic and everchanging relationship between humans and technology, making us question this reliance on technology. In this exhibition, Lachapelle also introduces the inclusion of human characters back into his art practice. He places people in unnatural and impossible exchanges with machines and technology. For instance, while in past exhibitions, he has usually tried to conceal the electronic components that make moving pieces...