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  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
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Current Exhibition

Maurizio Anzeri EXHIBITED AT THE SAATCHI GALLERY

Round Midnight
Maurizio Anzeri
Round Midnight

2009

Embroidery on print

62 x 45 cm
Maurizio Anzeri makes his portraits by sewing directly into found vintage photographs. His embroidered patterns garnish the figures like elaborate costumes, but also suggest a psychological aura, as if revealing the person’s thoughts or feelings. The antique appearance of the photographs is often at odds with the sharp lines and silky shimmer of the threads. The combined media gives the effect of a dimension where history and future converge. The image used in Round Midnight is an early 20th century ‘glamour shot’ that at the time would have been considered titillating for both the girl’s nudity and ethnicity. Anzeri’s delicately stitched veil recasts the figure with an uncomfortable modesty, overlaying a past generation’s cross-cultural anxieties with an allusion to our own.
Nicola
Maurizio Anzeri
Nicola

2011

Embroidery on photograph

23 x 17 cm
Enrico
Maurizio Anzeri
Enrico

2014

Embroidery on photograph

18 x 13 cm
Leopold
Maurizio Anzeri
Leopold

2014

Embroidery on photograph

38 x 30 cm
Giovanni
Maurizio Anzeri
Giovanni

2009

Photographic print with embroidery

51 x 41 cm
“I’ve been collecting old photographs for a long time. A few years ago I was doing ink drawings with them and out of curiosity I stitched into one. I work a lot with threads and hand stitching, and the link to photography was a natural progression. I put tracing paper over the photo and draw on the face until it develops. Sometimes the image comes straight away, suggested by a detail on a dress or in the background, but with the majority of them I spend a lot of time drawing. Once the drawing is done, I pierce the photo with a set of needle-like tools I invented and take the paper away; the holes are obsessively paced at the same distance to convey an idea of geometry. When I begin the stitching something else happens, drawing will never do what thread will – the light changes, and at some points you can lose the face, and at others you can still see under it.”
Rebecca
Maurizio Anzeri
Rebecca

2009

Embroidery on found photograph

20.5 x 15.5 cm
“There’s a dynamic in what happens between the photograph, the embroidery on top, and you standing in front looking at it. I try never to completely cover a face, you can always still see the face underneath. There are no rules other than I always leave one or both eyes open. Nothing is bigger in my head than a face, it’s the best landscape we can look at. It’s all to do with the centre, the body. Like a costume or other identity, my work reveals something that is behind the face that suddenly becomes in front. It’s like a mask – not a mask you put on, but something that grows out of you. It’s what the photo is telling you and what you want to read in the photos. I get my ideas from many different sources: it could be theatre, or someone dressed up on the tube, a tribe in Papua New Guinea, or Versace. It’s never one specific thing.”
Penny
Maurizio Anzeri
Penny

2009

Embroidery on found photograph

24 x 13 cm
“Photographs from the 40s and 50s have a totally different quality from photos we’re used to today. We don’t recognise them as photographs now, they really look like watercolours or drawings. The images I use are anonymous, I find them everywhere; I’m really into flea markets and car boot sales, when you enter you have no idea what you’re going to encounter. In everything I see there is something I am interested in, but I try to look at them as plain canvas. Art history is very important to me, it’s all been done before but it’s never been done by you: if you don’t look into the past there is no chance to go into the future. The surrealist movement is important to my work, but I don’t become obsessed by it, it’s not dictating rules. I understand history in a formal respect, and think of past artists like travelling companions – making work is like going for a walk with them. At the end of the day it’s about humanity.”
Yvonne
Maurizio Anzeri
Yvonne

2011

Embroidery on photograph

25 x 19.5 cm
Robert
Maurizio Anzeri
Robert

2011

Embroidery on photograph

24 x 18 cm
Rita
Maurizio Anzeri
Rita

2011

Embroidery on photograph

23.5 x 17.5 cm
Lille
Maurizio Anzeri
Lille

2011

Embroidery on photograph

23 x 17 cm
Edith
Maurizio Anzeri
Edith

2011

Embroidery on photograph

23 x 16.5 cm
Marcel
Maurizio Anzeri
Marcel

2011

Embroidery on photograph

23 x 17.8 cm
Pink
Maurizio Anzeri
Profile Pink

2012

Embroidery on photo

22.5 x 16.5 cm
Yellow
Maurizio Anzeri
Profile Yellow

2012

Embroidery on photo

23.5 x 18cm

Maurizio Anzeri's BIOGRAPHY

Maurizio Anzeri
Born in 1969 Loano, Italy
Lives and works in London



SOLO EXHIBITIONS


2011
Mauizio Anzeri, BALTIC Centre for Contemporary Art, Gateshead

2010
The Garden Party, Q Forum, London
Darwins Tears, Luce Gallery, Turin, Italy
Lunatico, Galerie Rupert Pfan, Dusseldorf

2009
I will buy the flowers myself, Riflemaker Gallery - London
Family Day, Galleria IMAGE Furini, Arezzo – Italy

2006
Places, Galleria Palladio, Lugano - Svizzera


GROUP EXHIBITIONS


2011
Make up, Galleria A Palazzo, Brescia, Italy
Intersection, Marlborough Gallery, Chelsea, NY
Version and Diversions, Temple Bar Gallery, Dublin

2010
Limited/ Unlimited, La Pelanda MACRO, Roma
Faces- Monica De Cardenas, Milan
Newspeak: British Art Now, Saatchi Gallery, London
ParisPhoto, Photographers Gallery, London

2009
Time is a Sausage, Domobaal, London
One Night in Paris, The Photographer’s Gallery PARISPHOTO 2009
Starting with a photograph, Michael Hoppen Contemporary – London
The Photographic Object, The Photographer’s Gallery – London
VOODOO, Riflemaker – London

2008
CONCRETE and GLASS, Saatchi Online at Beach Blanket Babylon – London
The Beautiful Children, The Wharf Road Project – London
Whispers of Immortality, Natalia Goldin Gallery – Stockholm, Sweden
The Sovereign European ArtPrize, Somerset House - London
L'Angelo Sigillato,Museo Icone Russe - Peccioli, Italy curated by Rita Selvaggio
Falling from an apple tree by mistake, WILDE gallery – Berlin, Germany
3am eternal,Alexandre POLLAZZON Gallery - London
ARTE FIERA Bologna, Italy

2007
Drifting CloudsGalleria IMAGEFurini - Arezzo, Italy, curated by Rita Selvaggio

2006
Museo CAMEC, Biennale Europea Arti Visive - LaSpezia, Italy. Curated by Bruno Cora
Kunsthalle?- Locarno Film Festival – Locarno, Svizzera

2005
SLADE, MA Show - London