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Masoud Akhavanjam “Conflictus”
Masoud Akhavanjam is a sculptor working in mirror polished stainless steel and bronze. His artworks are conceived as a commentary on society, and deal with themes such as the power of the mind over brute force and the constant struggle for a harmonic coexistence. Using his knowledge of the scientific properties of metal, he creates artworks ranging from intimate domestic pieces to monumental works, balancing the inherent strength of the material with the delicacy of the cast form.
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esponding to the theme of the exhibition, “Personal Structures”, the Iranian born sculptor Masoud Akhavanjam has chosen to show his artwork “Conflictus” in two different editions and locations – the monumental version is placed in the Giardini Marinaressa, whilst the smaller piece is in Palazzo Mora. In these cast, polished stainless steel sculptures, the artist directs our attention to the enormous challenges that humans are facing as a result of climate change and the ensuing environmental catastrophes. Only now are nations taking note of these catastrophes and through these sculptures, Akhavanjan shines a light on the very real conflict with regard to the commitments needed by governments and businesses to control these changes. On the one hand man-made numbers, GDP, profits and economic growth, etc. appear to be the primary concern for man’s emotional, mental and social stability; yet on the other hand, our greed for bigger and bigger numbers is jeopardising this personal well-being and even eventually our very existence. This mind-boggling conflict of interest is creating a difficult dilemma for decision makers, and placing them in a very challenging situation. Should they consider the well-being of unborn generations or the satisfaction of the present generation? Are they even actually making these decisions or just leaving the numbers to continue to control our destiny? What is our response on a personal level and what structures are we putting in place? 50
iNEWS
The fact is that until we focus solely on managing these numbers, how can we ever expect to have any meaningful change in our policies and strategies regarding the maintenance of a stable, habitable planet earth? In the artist’s opinion, it is the very foundations of consumerism, wealth creation and never-ending competition between companies and nations in terms of economic growth that need to be reconsidered, not only by future generations but also and more importantly by the decision makers of today. In Akhavanjam’s “Conflictus” sculptures, we see this omnipresent struggle played out in the tortious, writhing bodies of the entwined animals. Locked in a menacing struggle and impossible to tell apart, we are confused as where to look and how to interpret them. At each angle, they appear differently to us. There is no cohesive, comprehensive view. How can the protagonists be unravelled and what would they look like, if they were to be separated? Would this create the solution to our problems or just another paradox?
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