Sydney sculptor Hany Armanious makes formally diverse work, marked by its perverse conflation of opposing values. He morphs high-minded modernist formalism into hippy neo-paganism, confuses Scandanavian modernism with Arabian bazaar kitsch, and short circuits Bauhaus ‘intelligent design’ with Christian fundamentalist ‘intelligent design’ and Raelian ‘intelligent design’. His work exploits our tendency to make links between things which resemble one another in form, material, function and process. He makes bogus analogies, sometimes with the seriousness of a conspiracy theorist, other times with prankster humour. There is a perversity to his project sometimes he seems intent on elaborating some ‘big picture’ cosmology, at other times on scrambling the sensible. His underlying point is, however, phenomenological, pointing to our turns of mind. Our new monograph on Armanious surveys his work over the last decade or so, and features substantial new essays by Robert Leonard and Jason Markou. Jointly published with City Gallery Wellington.
|30 × 21 × 1 cm|