BIOGRAPHY

Anzu is a practicing artivist living between Cape Town and Toulouse (France). He has worked on a variety of solo and group projects, exhibitions and productions within South Africa, Mexico, France and Germany.

AnZu studied architecture at the University of Cape Town and has a proficiency in 3D conception and design that is brought to existence through the knowledge of materials particularly wood, hot glass, metals and paper.

AnZu collaborates in a number of creative realms that span theatre, film, architecture, design, exhibitions, sculpture and painting for the conception and fabrication of public and domestic interaction.

Other projects that have been conceived are  : 

‘Charged with 1000 Horse’ adapted from ‘Tamberlain the Great’ by Christopher Marlow directed by Hauke Lanz, Berlin 1996

‘People Powered Entertainment Console’ exhibited by the Malpitte at the National Gallery of Cape Town 2002 and at the Cape Town City Festival 2003

‘Voyage Ensemble’ Scalabrini Centre, Cape Town, South Africa 2007 and HIFA national art festival Zimbabwe

 ‘Rudoscope’ recycling museum City of Graulhet, France 2010

‘Lucie et L’Ogresse’ puppet theatre Graulhet, France 2011

‘The Midas Touch’ Mandela Rhodes, Cape Town 2011

‘Red in the Rainbow’ The Gateway, Waterfront, Cape Town, South Africa 2012

‘La Chambre Blanche’ a film by Bertand Lenclos, Graulhet, France 2013

‘Manifeste du Champignon’ exhibition at L’ibère Familier, Graulhet, France 2014

UPCOMING PROJECT : HAUKE LANZ compagnie Deus Ex Machina - with 1,2,3 les Timides : Le 5^ème élément

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 Info sur Oude Molen & AnZu : www.oudemolenecovillage.co.za/sculpture-studio 

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PAINTING WITH FUNGI

The surface and its landscape. 

Recognizing some of the avenues of visual endeavor, this investigative research lies in the process. Surfaces of texture are chosen purposefully to assist in the invocation of form and perspective.

The application method of colour, primarily different tones ofmushroom spore, accelerates towards graphic abstraction and the suggestive imagination.

Water and the decomposition of matter redefine the human participation, following the power of a natural order that creates from decay. Weather conditions are critical to bring all the elements into existence.

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GLASSWARE

The Development of Combining Materials to Create Effective Lighting

Collaborating with David Reede ( South Africa) and Pedro Veloso (France) as technical masters of liquid glass, AnZu enhances their talents with his accomplishments of forged steel creating structures that hang and support the fragile translucence.

Inspired by Dale Chihuli ( Seatlle, USA) with his sizable glass installations, the origin of the Murano Biennale 1998 (Italy) was to use glassware from hot-shops around the world to promote and exploit the different types of glass in specific formative constellations.

Each manufacturer has a different product, quality, clarity and tooling so the challenge is to present each piece of glass in a way that compliments its existence.

Support metals vary between brass, stainless and mild steels with variations in electroplating. Sculpted to facilitate positions of hanging, standing and wall mounted illuminations.

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SEE FILM Forged steel & glassware

DRAWINGS & SCULPTURES

The line drawing begins as an infantile depiction of idea to paper. Developed as a continuous line these invocations use comic style foreshortening and distortion to give a heightened sense of perspective. The human distortion is central to the experience of the living and the dead. The body is a symmetrically perceived entity with a mental capacity of ancient memory and natural instinct but when pictorially separated into pieces, this capsule looses its definition of distinctly manipulative and powerful authoritarian above nature and tends towards a subjective, fragile, adaptable popular virus inhabiting the crust of a planet.

The conversion from drawing to sculpture takes place in two principal mediums; one is using steel to create 3-dimensional forms with a transparence eluding to the inner fabric of the epidemic vessel, the second is related to a tradition in bas-relief with the ability to sculpt by addition rather than reduction.

Both formats have their origin in the line drawing manipulated to depict the emotional gesture and poise of a dexterous yet sinistered species.

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