by Estelle Lovatt Imagine this. You stare at an abstract piece of sculpture without a clue as to its meaning, only what you perceive. But, hold this item up to a complementing curved mirror and there on the mirror - unfolds a recognisable image of a man. +tI has to be seen to be believed. This is the new achieve these images requires billions o1 I realitV in art. In the hands of sculptor Jonty calculations, so essentially I can't explain it. But, I Hurwitz, Brave New Realism is going to be the from the perspective of contemporary sculpture, lel art world's next Big Bang. Its treatment of me say that Hurwitz sculpts with numbers, not clay, representation is so realistic, it'll confuse you. The ingredients of an optometrist's nightmare ('Is it Using algorithmic calculations and equations tc real? Is it there or not?'), its visual power and great dynamic visual effect, it is surprising how ocular uncertainty is incalculable. Actually, no, it human Hurwitz's sculptures feel. How? Simply put, isn't! It's E = mc2. But please don't expect me to they are composed in conjunction with traditiona classic depth, foreshortening, volume =t explain it. For most of us, schooled in the fine art illusions of I .l styles of paint, brush, perspective, line and form, and spatial dimension. You have to think o1 -t.t this form of aft requires not the tutelage of the Holbein's The Ambassadors skull; reflections ir .=| masters, but, possibly, a degree in Physicsl To Monet's water lily pond; and Hoogstraten's peep-
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that that reality doesn't really exist. He plays with science alongside the mechanics of technology, our our perception of reality by using the most internet age and digital media. Where Henry Moore traditional of props employed by artists throughout would have used graph paper and Leonardo a western art history - the trickery of mirror and 'cartoon', Hurwitz fuses Einstein's theory E=mc2 reflection, in both image and meditation. His (energy, mass and the speed of light) to equate sculpture, like his business, is formalised, illusions of solidity, "making subatomic space schematic, stylised and symbolic in supporting understandable". Sculpting with physics as much as concentrated thought of logic and analysis, which, clay - creating that unlike anything I've ever seen again, makes me ask - science or art? Thinning the before - in sculpture or installation, Hurwitz is a dividing gap between art and science, Hurwitz is special-effects artist, whose effects are, indeed, very cognisant of the two being holistically co-joined, in special. Great art, its roots are in the soil of art the same way that we are naturally, comfortably, history that, bound by the fundamental forces of fine split between our spiritual and operational self. art, need science, just like a sprout needs watering. Shaping amorphous matter as emblematic, You don't need to be an art aficionado or physicist to revolutionary and truthful as The Creation, Hurwitz understand, engage with and feel touched by - the scientist of the art world - could only make his Hurwitz's brilliance in configuring Darwin and Freud artwork at this point in time. pitted against Duchamp and Picabia.
Flying on the wings of his extremely imaginative Hurwitz engineers it all, changing the way you'll mind, its reliance is hinged on the advancements of look and think about sculpture, about art, indeed, ia d:':-JC.d opposlfe: Thinker about everything around you. Compounding and Perhaps, when he says that "Everything is belolv,' jonty hurwitz confounding classification, he (re)constructs reality expendable and throw-away...quickly discontinued in a higher high definition HD (High Definition) - and made redundant", he best describes his that of a Fourth Dimension. Less-circus-like than artwork, as inconceivably conceivable though Kapoor and with more brains-over-brawn than Jeff contradictorily accessi ble. Koons, you've got to see it to believe it. From what you I can see - or not - is that when Maths, Physics and Oh, come along now, do get a grip! Only can't. Philosophy cross, they cancel each other, denying Eyeing up a Hurwitz sculpture (don't forget it has to facts and blurring existence between reality and be in your line of vision), you soon realise it doesn't non-reality to within a believable pragmatism that actually exist. Invisible (pending your manoeuvre is abstract not imitative. Hurwitz's supremacy is around the sculpture), it's an optical proportion of being able to restore the abstract, returning it back falsehood nothing more than a projection; to reality saved - the inanimate from the animate; projected Uberreality making Super-Realism the outside from the inside; the transparent from sharper, crisper and more defined - to what the subversive; the poetic from the physical; the purpose? Hurwitz's most realistic sculpture seryes a mindless from the mindful; the playful from the reality that he plagiarises from abstraction, to show subdued; philosophy from pre-science as a sort of how everything is, indeed, really nothing at all. baroque resonation, inherently making a virtue out Things, not what they appear to be, materialise as of the ambiguity, as you're taken to a sense of quite brilliant. hope; an apparition configuring the Holy Ghost, before it evaporates once you move. lonty Hurwitz is a Featured Artist on www.gofigurative.com Telephone: +44 (0)20 8905 Not what it seems, the whole concept of what we 5872. see as real - or void - is simply a visual contradiction as deceiving, spectacular and theatrical as trompe-l'eoil illusionism occupying Vermeer, Van Eyck, Magritte, Escher...right up to Bridget Riley. Hurwitzt unique technique in working methods translates an abstract world back in to the figurative, to concepts of representation of surrealist fantasy conjured in earthly time. Bound back to the future, it's a peculiar hybrid that, as Hurwitz intends, "gives us the opportunity to digest how matter is a matter of perception". Once his narrative appears in front of you, you are permitted an enteftaining philosophy that disappears as fast as it came, around the twist of an axis; experience its impact before it shifts out of sight. As in Rejuvenation, 2009, as Hurwitz notes, "the resistance to the process of ageing as being an ancient human preoccupation, from Aeson in The Golden Fleece to the latest wonder drug that jump- starts dormant stem cells, our desperate belief in the fountain of youth refusing to die"' And so, Kiss of Chytrid,2009, looks at the "end of the amphibian frog, toad, salamander and newt. These cold- blooded, creeping, hopping creatures of fairy tale, biblical plague, proverb and witchcraft; from Medieval Europe, which saw frogs as the devil, to the ancient Egyptians for whom they symbolised life and fertility; to children throughout the ages who saw/see them as a slippery introduction to the natural world; to scientists to whom they represent an order that has weathered over 300 million years to evolve into more than 6,000 singular species, as beautiful, diverse - and imperilled - as anything that walks , or hops, the earth," claims Hurwitz.
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