ARTIST PROFILE

andrea nadzan zanotti

  • Italy (b. 1973 in Clusone (bg))
  • Currently in Venice, Italy.
  • I use of organic materials, natural because of their potential expressiveness, emphasizing not only the work itself but the process of original hybridization between the cubic and geometric forms of minimalist echo with organic elements.

REPRESENTATION

2025 Dreaming water ( III° Act)

2025 Dreaming water ( III° Act)

  • 2010
  • Glass, Iron, Wood, Found Objects, inox, water, neon, twelve glass jars
  • Installation
  • 150 x 50 x 150 cm

  • The work encompasses a dream vision, a dream that could become, shared a dream with open eyes, a hope of so many persons whose primary asset already slackened. Twelve containers enamel of colored glass determine a dream. ... water in increasing amounts
  • 2025 Dreaming water ( III° Act) - thumbnail The Last Supper ( II° Act) - thumbnail The Last Supper ( I° Act) - thumbnail Underground Underwax ( side b) - thumbnail Underground Underwax - thumbnail Hummer underwax ( side b) - thumbnail Hummer underwax - thumbnail Faith ? (side b) - thumbnail Faith ? - thumbnail Book underwax ( side b) - thumbnail Book underwax - thumbnail Untitled - thumbnail Flash Art - thumbnail Faith ? (I° Act ) - thumbnail Zen toast - thumbnail Scented Red Dollars - thumbnail Scented Blue Dollars - thumbnail Connection refused - thumbnail

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    Protection | 2010 - 2012

In general, the contemporary art asks questions without answers is a cross-language forms and signs and Nadzan puts us up against the wall facing a planetary emergency: the need to protect nature showing assemblages of different materials against the destruction already in place on the planet evoking a disturbing future in which water is more precious than gold. The wax fascinates me for its organic transparency "protectiveness" for the perfume essence of Zen. The bitumen / tar is a petroleum derivative and I chose it because it is the material for industrial excellence, energy source on which we depend and immortal because of war and environmental pollution. I chose it for its black colour that evokes nothing. In the recent my art-works are born from a discussion and analysis of global economic issues, from which a series of works in which the banknotes of various western and eastern countries are placed under protection of the wax. The precarious economic balance is frozen by the wax, leaving a space for meditation and personal reflection on economic globalization. The monochrome black invites meditation on time and space My black oil is the beginning and the end of plastic forms in evolution, it evokes the cosmos and to meditate on the state of not being there.