Ana Mazzei
Ana Mazzei, Temple, 2020-2021
Cedar wood, varnish, steel wire and soundtrack
composed by Gustavo Riviera and Paulo Kishimoto
250 (height) x 900 (length) cm
Installation view at Glasgow International 2021, Scotland, UK
Photo by Matthew Arthur Williams
Ana Mazzei, Temple (detail), 2020-2021
Photo by Matthew Arthur Williams
Ana Mazzei, Temple (detail), 2020-2021
Photo by Matthew Arthur Williams
Ana Mazzei, Temple (detail), 2020-2021
Photo by Matthew Arthur Williams
Ana Mazzei, Temple (detail), 2020-2021
Photo by Matthew Arthur Williams
Ana Mazzei, Temple (detail), 2020-2021
Photo by Matthew Arthur Williams
Ana Mazzei, Temple (detail), 2020-2021
Photo by Matthew Arthur Williams
Ana Mazzei, Temple (detail), 2020-2021
Photo by Matthew Arthur Williams
Ana Mazzei, Other Scenes, 2019-2021
Cedar wood, garapeira wood, perobinha wood, plywood, acrylic paint, fabric and varnish
Composed of 19 pieces, Dimensions variable
Installation dimension: 300 (height) x 900 (length) x 700 (width) cm
Installation view at Glasgow International 2021, UK, Scotland
Photo by Matthew Arthur Williams
Ana Mazzei, Other Scenes (detail), 2019-2021
Photo by Matthew Arthur Williams
Ana Mazzei, Other Scenes (detail), 2019-2021
Photo by Matthew Arthur Williams
Ana Mazzei, Other Scenes (detail), 2019-2021
Photo by Matthew Arthur Williams
Ana Mazzei, Other Scenes (detail), 2019-2021
Photo by Matthew Arthur Williams
Ana Mazzei, Other Scenes (detail), 2019-2021
Photo by Matthew Arthur Williams
Ana Mazzei, Other Scenes (detail), 2019-2021
Photo by Matthew Arthur Williams
Ana Mazzei, Other Scenes (detail), 2019-2021
Photo by Matthew Arthur Williams
Ana Mazzei’s first commission for a public institution in Scotland is a large-scale installation. The Brazilian artist presents a series of work over two floors, where abstracted sculptural forms pertain to states of mind, and taken together suggest an open-ended narrative.
An unfurled temple stands in the shape of a semicircle, having survived an unnamed disaster. Is this a confrontational encounter between the forms and viewer, or a staged architectural background for our own private narratives to play out on? Other works congregate in groups, invoking both formalist sculptural exercises and fragments of characters, lost in unidentified stories.
Offering shifts in perspective and viewpoint, the installations create a deliberate sense of somehow being caught in a choreographed game, with sculptures that take on their own vocabulary of forms, conjuring half-remembered episodes or fragmented mythologies.
Exhibition supported by British Council, Henry Moore Foundation and The Pipe Factory, Glasgow
The Brazilian artist's mixed-media sculptural works explore the power of enigmatic storytelling.
Some of the most effective shows at this year’s Glasgow International are those which seem to speak to their surroundings, writes Susan Mansfield
Hettie Judah's review on Glasgow International 2021.
