THE BREATHING SCULPTURES OF ARMEN AGOP
By Mariam Hamdy
Daily News Egypt
leID=17427
Oct 30 2008
Egypt
Imagine yourself walking into an aquarium after announcing that a new
species has been discovered. Consider for a moment the apprehension,
hesitation and awe one senses on witnessing these new creatures for
the first time, with all its beautiful and bizarre traits.
This is exactly how I felt upon entering the Zamalek Art Gallery
as I laid my eyes on the sculptures of Armen Agop. Each piece is
thematically connected to the next, giving the impression of a genetic
map, yet every single one has a distinctive personality.
Made of heavy basalt and bronze forms, the sculptures balance on 2mm
pivots. Organically shaped, the contradiction between the material
used and the forms created from them is fascinating. The pieces are
bottom-heavy with an edge that leads to either a single or multiple
points on top — akin to whipped cream in both form and lightness.
Agop has clearly thought through the creation of the pieces.
"It’s important to allow the dynamic between mind, body and soul to
operate. It’s the relation between all three and their surroundings,
either harmonic or conflicting, that lend to the creation of the
piece," Agop told Daily News Egypt.
The Egyptian-Armenian artist was born and raised in Cairo. Currently
residing in Italy after the Ministry of Culture agreed to sponsor
him for one year; Agop’s work has gained international success
throughout the past few years. While he has exhibited his works in
several countries, ranging from Italy and Spain to Denmark and Japan,
working in Italy has had a great impact on his work.
"When I left Cairo almost 10 years ago, there was too much thinking
about the work itself, too much analysis of how the pieces will show
and how one could work in a way that would be worth an exhibition. In
Italy, the appreciation of the work and its identity made me lose
concern with judging my work. I just do what looks and feels right
to me and hope it’s sincere enough to touch people." And it certainly
does.
Agop’s uncannily pieces look almost alive. Viewers are only required
to focus their attention on a given piece and leave it for a few
moments before it begins breathing. Such effect is accomplished not
only through the contrast of stillness and movement, but also due
to their matte surface. The pieces are predominantly black in tone,
with an occasional auburn brown color of pure bronze.
Agop’s has purposefully kept the surfaces of the sculptures almost
matte, allowing only a trace of shine that catches enough light to
draw attention without any reflections.
This is an excellent choice by Agop; polishing the pieces would’ve
simply made them look artificial and lifeless in addition to distancing
the viewers from the pieces. By adding this slight touch, the pieces
maintain their individuality that could’ve been easily shattered by
the interference of reflection.
Yet the relationship between the work and the viewers here is
tangible. The sculptures look as though they are inquisitive in their
own right, reaching out from the bulk of their weight to the tips of
their edges and pivots towards their surroundings.
The impeccable presentation at the Zamalek Art gallery’s grounds —
the contrast between the bleach white supports on which the sculptures
rest and the sculptures themselves — allows the pieces to come to
life. The lighting which haloes each piece (a crucial element for
successful exhibitions that is usually taken for granted) provides
the works with an ethereal feeling.
"Exactitude is not the truth," Agop said, quoting French artist
Henri Matisse. His work manages to exemplify just that. It steers
away from the certainty of form that is inherent in sculptural work
yet maintains its statuesque effect. By all standards, this is an
exceptional exhibition.
Zamalek Art Gallery, 11 Brazil St., Zamalek, Cairo. Tel: (02) 2735
1240, 012 224 1062, 012 700 1900. Open daily from 10:30 am to 9 pm.