Dancer has the calm magnetism and monumentality of a classical statue. This is evoked not only by the cut-off limbs - as if she is a found piece or artefact – but by her structured beauty, sleek lines and statuesque proportions. The sculpture has a sense of balance and harmony, poise and strength. Dance, like art, is an inseparable part of civilisation and the sculpture evokes the internal, timeless rhythms of the dancer as she turns away, steadfast and immersed in her own world of creativity; dream-like she calmly and dedicatedly learns her steps so they become internalised and the potential of the dance is realised.

There is a reassurance to the gentle solidity of the Dancer; her moves are internalised rhythms represented in the material mass of bronze. But there is a lightness to her too, enhanced by the evanescent, shifting reflected light on every surface and facet of her body. Most light falls on her head, shoulders and her uplifted left arm and this creates a sense of lightness and reaching upwards whilst she is still connected solidly to the earth beneath her. She reaches up for her inspiration which is balanced by her earth-bound body and dedicated practice necessary for her craft.

With Dancer, Akhavanjam has evoked a timeless spirit of dance: an ancient figure on the side of a temple; the joy of a Matisse dancer; the drama and monumentality of Naum Gabo’s Constructed Heads or the rhythm and joie de vivre of the thirties and the celebrated school of dance of Margaret Morris.

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About the Artist

Akhavanjam was born in Tehran, Iran and was sent to boarding school in Marburg, Germany when he was fourteen. Alongside his studies at high school, he attended a sculpture class which ignited his loved of sculpture. In 1989, Akhavanjam moved to the United States to attend the George Washington University where he gained a degree in Biology in 1995 and subsequently in 2005 he received an Executive MBA degree from Kempten University of Applied Science in Germany. From 1997 to 2011 Akhavanjam managed the Design Department of his family’s Iranian manufacturing company for household appliances. This gave him an in-depth understanding of the manufacturing process and a passion for the structure and materiality of objects, and in particular a rapport with stainless steel. This knowledge of the scientific properties of metal combined with his love of sculpture led him to establish his own sculpture workshop. In his work he balances the inherent strength of the material with the delicacy of the cast form, realising a creative alchemy between the two. He created his first bronze sculpture in 2011.

Akhavanjam uses the unforgiving and technically challenging medium of stainless steel and bronze which under his hand seems to melt or morph into shape. His works are both figurative and abstract and sometimes combine both in their composition. He is inspired by contrasting life forces and energies which seem to grapple with each other, held within the calm beauty, elegance and sleek finish of the polished surface. His sculptures are a commentary on society and deal with paradoxical and complex themes such as the duality of good and evil, the power of the mind over brute force and the constant struggle to create a balanced and harmonious existence.

Akhavanjam has exhibited his work widely in Iran and the UAE and has participated in exhibitions at Palazzo Bembo, Palazzo Mora and the Giardini della Marinaressa in the context of the Venice Biennale in 2017, 2019, and 2022 (where his works remain on display until November 2022). Recent exhibitions in the UK include 2021 ANTHEM, Tremenheere Sculpture Gardens, Cornwall; Cotswold Sculpture Park, Cirencester; 2022 Dodington Hall, Lincolnshire and Cromwell Place, London.

Akhavanjam is now a Greek resident and divides his time between Greece and the United Kingdom.

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