Ziad Antar

Liminal places and things


London, Savile Row

  • , Derivable II, 2014
    Fortified concrete with silica
    132 x 35 x 35 cm
    52 x 13 3/4 x 13 3/4 inches
    Ed 4/4 + 1 AP
  • , Derivable III, 2014
    Fortified concrete with silica
    105 x 57 x 45 cm
    41 3/8 x 22 1/2 x 17 3/4 inches
    Ed 4/4 + 1 AP
  • , Derivable IV, 2014
    Fortified concrete with silica
    130 x 40 x 18 cm
    51 1/8 x 15 3/4 x 7 1/8 inches
    Ed 4/4 + 1 AP
  • , Derivable VI, 2014
    Fortified concrete with silica
    102 x 45 x 33 cm
    40 1/8 x 17 3/4 x 13 inches
    Ed 4/4 + 1 AP
  • , Derivable IX, 2014
    Fortified concrete with silica
    75 x 65 x 56 cm
    29 1/2 x 25 5/8 x 22 inches
    Ed 4/4 + 1 AP
  • , Axiom 11, 2012
    Silver print mounted on dibond
    120 x 120 cm
    47 1/4 x 47 1/4 inches
    Ed 3/5 + 1 AP
  • , Water Tank, 2012
    Ink jet on archival cotton paper
    120 x 120 cm
    47 1/4 x 47 1/4 inches
    Ed 3/5 + 1 AP
  • , Axiom 3, 2012
    Ink jet on archival cotton paper
    120 x 120 cm
    47 1/4 x 47 1/4 inches
    Ed 3/5 + 1 AP
  • , Axiom 2, 2012
    Ink jet on archival cotton paper
    120 x 120 cm
    47 1/4 x 47 1/4 inches
    Ed 3/5 + 1 AP
  • , Axiom 6, 2012
    Ink jet on archival cotton paper
    120 x 120 cm
    47 1/4 x 47 1/4 inches
    Ed 3/5 + 1 AP
  • , Axiom 8, 2012
    Ink jet on archival cotton paper
    120 x 120 cm
    47 1/4 x 47 1/4 inches
    Ed 3/5 + 1 AP
  • , Axiom 9, 2012
    Ink jet on archival cotton paper
    120 x 120 cm
    47 1/4 x 47 1/4 inches
    Ed 3/5 + 1 AP
  • , Potato Flower, 2017
    Print on paper
    110 x 170 cm
    43 1/4 x 66 7/8 inches
    Ed 1/5 + 1 AP
  • , Concrete Potatoes, 2017
    Concrete sculpture in 6 parts
    Variable dimensions
  • , Untitled (TBT), 2017
    Print on Blue back paper
    120 x 120 cm
    47 1/4 x 47 1/4 inches
    Ed 1/5 + 1 AP

Press release

Ziad Antar photographs liminal places and things. His practice revolves around the ambivalence of the relationship between reality and its technological representation. He realises photo-sculptures or three-dimensional forms within the exhibition space through a succession of formalist paradoxes. Not unlike cast sculpture, photography is a direct imprint of reality. It offers a matrix from which counter-forms can be printed and therefore its process is comparable to that of moulding. At least, this is exactly what the artist’s experiments suggest, while playing with different forms of representation to create an image in between, that is, a sculptural transcription of a photograph at the limen of realism...


Selected press