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Destruction of humanity Painting

Aziz Anzabi

United Kingdom

Painting, Oil on Canvas

Size: 40.1 W x 40.1 H x 1.6 D in

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About The Artwork

This painting represents the real meaning of war. War doesn't have a winning side and both sides at war are losers because both sides inflict pain and sorrow to their citizens and death of people. The main reason for war is leaders within that country not normal people because they want to keep their power and are willing to do anything to keep their power and believe that everything they say is right. Some people are usually against or for these leader's beliefs and goals and the outcome of this is destruction, death and sale of weapons. Aziz has used a lot of grey which is a cold colour to show that war doesn't bring any happiness and hope but instead makes the people divide, each with their own goals and beliefs they view as right. The person at the top of the painting which covers a large amount of the canvas to me symbolises the spirits of those who have died during the war . This is somewhat threatening as the spirits will remain at the top where even if war is finished they will still hover over this city where blood was shed. It makes me as a viewer empathize with the people at war and I feel a strong connection between me and the painting. The painting creates a sense of being uneasy especially with the way the clouds in the sky are gathering towards the man at the top as if even the sky is weeping and tired of this ruthless war. To me it is ironic because on the left side of the painting where the king is the buildings are brown while on the other side the buildings are grey. This might suggest that the king brings destruction as he goes with his luxuries and horse not caring about the others that might suffer. Behind the king is a donkey carrying a bag full of skulls which might be the king’s consciousness. This imagery horrifies me as Aziz has managed to capture how disgusting and heart-breaking war is. The fact that a donkey is following him shows that the king is foolish and mindless, and that he is the cause of people's deaths. The fish's bones represents the innocent people that die in the war because fish are cruelly captured by humans and the shadows behind the fish is a family which is so meaningful because it shows that people of any age and gender are killed in war with no mercy. It also shows that even if people don't want to be involved in war they are always somehow involved without their will. Overall this painting is really meaningful and in my opinion it can inspire others to help people at war as this painting explores how war truly is. By: Asra Original Oil and peeling paper on canvas 102cm x 102cm

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:40.1 W x 40.1 H x 1.6 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

AZIZ ANZABI: From politics to poetics. Between tradition and modernity: tapping into memorial exploration to nourish collective consciousness. By placing interiority and personal experience at the service of political awareness, Aziz Anzabi relentlessly questions the means we have to rethink the world in order to relieve sentiments of suffering. Experiencing Iran / Iraq War at an early age, Aziz Anzabi's encounters with iconic figures of Iranian contemporary art such as Bahman Moasses or modern poet Sohrab Sepehri radically impacted his vision. Embodying concepts of exile and oppression, Aziz Anzabi explores novel paths into the idea of free speech, shaping psychic surrealisms to awaken consciences to the violence of our over-standardized world. “I want to mix tradition into contemporary art because I think that Qajar art is the only style that is solely Iranian, with its own unique framework and techniques”. Navigating abstraction and figuration his works evokes a symbolic grammar, both biographical and collective. Anzabi's fantasized landscapes - his moving humans, his uncertain and distorted forms - are so personal that they become universal. They are in no way free from technology, quite the contrary: they would not exist without it. By borrowing from the ancestral Qajar tradition, Aziz Anzabi becomes both craftsman and alchemist. This clever mix of technical requirements linked to an approach of memory nourished by loss, gives life to powerful works : unconscious testimonies, timeless sequences questioning our immediate future. Aziz Anzabi is a fully committed lucid embodiment of a new form of violent poetic activism.

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