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SCULPTOR

PRESS KIT 2016

Infinity Gallery Hong Kong

Infinity Gallery San Francisco

Suite 904, The Factory, 1 Yip Fat Street,

385 Oyster Point Blvd, Suite 8B

Wong Chuk Hang, Hong Kong

South San Francisco, CA 94080, USA

T: (852) 3426 9726

T: (650) 616-7900 & (888) 829-3808

info@infinitygallery.asia

aimee@infinitygallery.asia

www.richardxzawitz.com


En collaboration avec JW Anderson, du 29 fĂŠvrier au 2 avril

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Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster


World renowned Sculptor, Visionary and Master Creative Richard X Zawitz will be 2 2016. Richard X is creating a new series of works for the colette exhibition to coincide with Fashion Week in Paris. The artist innovation in four dimensions employing his Curvist Movement discovery will continue his series of works in steel and mixed media new series of wall art from Zawitz entitled “Spooky Action at an Distance”. A series of six paintings based on Quantum Entanglement. Richard X Zawitz, Sculptor and inventor was born in Pittsburgh, Pennsylvania, famous for steel mills and ANDY WARHOL. Richard has always felt an innate calling to a higher life purpose that would draw him outside the industrial, steel town he grew up in. Richard X Zawitz’s work has been devoted to the essences and energies ical pantheon of the form and the formlessness of Asian philosophy and metaphysics. He works with materials as diverse as plastics, stainless steel, wood, stone, objects in myriad worlds and locations. His miniature works of art and playthings in Tangle Creations can be found in homes, businesses and schools penetrated in people’s life all around the world. The Tangle Plaything has sold over 100 million copyrighted editions worldwide. Richard X Zawitz Sculptures can be found in collections both public and private worldwide. Richard X Zawitz lives between San Francisco and Hong-Kong. These works will be in a “Colorist” mode. The artist has expressed a new and innovative modality in these works. Richard X was quoted, “I am truly honored to be exhibiting my new collection of parallel really thrilled and excited about showing with colette. What also makes this exhibit more special is the collaboration with JW Anderson. I love his work and his team has done a marvelous job with my sculpture and Jonathan’s latest sculpted Tangle Hand Bag collection. I additionally love Jonathan’s employment of curving design elements in the SS16 Women’s Collection.” Richard X Zawitz’s works and JW Anderson’s “Pouch” bags will be exclusively on sale at colette in Paris and at J.W. Anderson Workshops in London. www.richardxzawitz.com / @richardxzawitz / #richardxzawitz

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Richard X Zawitz One Man Exhibition One Central Macau, Feb 1st 2016 - Feb 23rd 2016

“10 Auspicious Monkeys”

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Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster


Press Interviews “10 Auspicious Monkeys” One Central Macau, Feb 1st 2016

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Interview, Guangzhou News Feb. 1, 2016

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Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster


Press, Macau Times Feb. 1, 2016

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World Sculpture News Article Spring 2015

HK$55/US$7/ CAN$7/£3.50/€6

VOLUME 21 NUMBER 2 SPRING 2015

RICHARD X. ZAWITZ SPRING 2015

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Betty Bivins Edwards * Xu Bing * Israel Museum * Hakone Open-Air Museum * Reviews WORLD SCULPTURE NEWS 37

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World Sculpture News Article Spring 2015

Writing Sculpture American Richard X. Zawitz’s sculptures embrace numerous aesthetic and philosophical ideas rooted in many Asian cultures. His works give us pause to contemplate afresh our emotional relationship with sculpture. By Ian Findlay

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World Sculpture News Article Spring 2015

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culpture demands to be touched. This is something Richard Zawitz appreciates. From the directness of figuration to the aesthetics of abstraction to the complexities of infinity and Tao, Zawitz says his “understanding of sculpture is that it is to be experienced tactilely.”1 Since his earliest works in wood and marble, of more than 40 years ago, Zawitz has made art that enchants the eye and stirs the imagination and stimulates the intellect. It is, as he says, part of his role as an artist and innovator “to enlighten and to delight.” And in the manner of a thaumaturgist— a performer of miracles, a magician of sorts—he sees himself as “changing lives through my sculpture.” The singular artistic voice is a rarity: Zawitz has it. Compelled by a searching personality he has made elegant and lyrical sculptures that speak to a bold calligraphic sense of line and form and to a wide range of philosophical and spiritual questions, from humankind’s place within the universe to the personal nature of creativity. At the same time, Zawitz also deals with the quotidian realities of our environment, of nature’s extraordinary power and its fragility, and people’s influence on these, which lends many of his sculptures a natural force and a disconcerting intensity. One work in particular stands out for its intensity: Infinite Living Man (2014). The plants growing within the sculpture’s spiraling stainless steel frame lends the work an organic power that, at first glance, is a touch unsettling but then is quickly seen as entirely natural. In this work Zawitz brings together a Japanese

technology that combines foam and dirt in which to grow plants: here, over slow time, the plans will become one with the stainless steel. The essential natural reality of Infinite Living Man extends the ‘human’ dynamic of Zawitz’s earlier wireframe Infinite Man (2012). When I first saw Infinite Living Man in Zawitz’s packed studio, I thought instantly of the menacing plant forms in the post-apocalyptic novel Day of the Triffids (1951) by the English author John Wyndham (1903–1969). The energy of this work also reminds me of the science fiction novel The Stars my Destination (1956) by the American writer Alfred Bester (1913–1987). In Bester’s narrative objects are pulled together from space debris, making for living spaces that are easily imagined as explosive monumental sculptures in which the universe’s outcast live and thrive.2 Here, with Infinite Living Man, is Zawitz’s most sinuous contribution to sculptural science fiction. But the work is also a metaphor for the infinite growth of the universe in which humankind is but a transient breath. There is, too, a sense in Zawitz’s art of the sheer erotic pleasure of making forms and his emphasis on curvism,

which is why the tactile experience of his forms is so important to their success. This is clear from his earliest works; one is quickly aware of the sense of the erotic in elegant works entitled Torso (1970) and Infinite Column/Tree of Life (1975), as well as in the various Infinite stainless steel works from 2012 onwards and the recent dimpled fiberglass form Alien DNA (2015). In Infinite Column/ Tree of Life Zawitz plays with the notion of the past as connected to the future: his spiritual quest is found in the magical balletic forms that are now at the core of his recent successful works. Here his distinctive thaumaturgic surprises enliven our visual experience of his art. With each new work Zawitz does not repeat himself; rather he renews the challenge of his materials in the endless curve and Mobius-like drama of his line through space: his sculptural narratives glide through the air as thick snake-like forms. This progression is clear from his earliest works in wood, marble, and alabaster to his most recent monumental stainless steel. His earliest sculptural experiences still inform his art practice. “I am very concerned with material and multi media. I love to mix mate-

Richard X. Zawitz, Infinite Touch, 2012, fiberglass, crystals, silicone, mixed media, 130 x 220 x 120 cm. Photograph: Michael Marsden Photography Hong Kong. All works © Richard X. Zawitz. SPRING 2015

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World Sculpture News Article Spring 2015

many of his completed monumental works grace the atriums of hotels.

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orn in 1946, in Pittsburgh, Richard X. Zawitz’s road of sculptural discovery and invention began with his early art education: first at the University of Pittsburgh (1967–1968), then at the University of Hawaii (1969–1973), where he began to ‘embrace Asia,” and where he majored in sculpture and minored in Asian art history and Asian philosophy. His mentors, the materials, the literature, and his yearning to travel then were, and still are, profound influences on his artistic philosophy as well as simply what it means to be an artist working “to enlighten and to delight” and to “change lives through sculpture.” Through his mentors he has been “fortunate enough to know first hand and others I have studied from a distance.” It is easy to see how Zawitz developed his desire to change people’s perceptions through sculpture. His ancient mentors include Lao Tze and the Zen Buddhist master Hakuin Ekaku (1686–1768). His modern mentors included Henry Moore (1898–1986), Barbara Hepworth (1903–

Richard X. Zawitz, Infinite Living Man, 2015, stainless steel and plant life, 300 x 100 x 100 cm. Photograph: Michael Marsden Photography Hong Kong.

rials and I love the purity of materials,” says Zawitz. “I practice ‘truth to materials,’ which is allowing the materials to be flawed if that is the case. I may not carve a wooden sculpture base just to keep the natural essence of ‘uncarved block’ material. I like to bend or curve the rules. This helps to foster innovation.” Breaking rules to form new ones for his own art began early for Zawitz and has become, I feel, the nemesis that

drives him on to envisage more complex forms, especially his truly gigantic conceptual works that embrace the land and the sea. Gigantic conceptual environments such as his Infinity 12.128t (for the City of Arts and Sciences, Valencia, Spain) and Statue of Infinity, Gateway to the West (San Francisco Harbor Entrance, San Francisco) seem as if touched by a religious zeal in their imaginings. These works exist as virtual sculptures, while

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Richard X. Zawitz, Wire Frame, Infinite Man, 2012.

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World Sculpture News Article Spring 2015

1975), Constantin Brancusi (1876–1957), and Isamu Noguchi (1904–1988), the latter two artists being “my most important inspirational sculptors. They remain supremely important to my path towards perfection.” Of his teachers Zawitz speaks with the greatest respect for Professor Prithwish Neogy (1918–1991), who “I was fortunate to be mentored personally. Prithwish Neogy had been a student of Ananda Coomaraswamy (1877–1947), the Sri Lankan scholar of Indian art. Professor Neogy introduced me to the renowned Japanese calligrapher Morita Shiryu (b.1912) in Kyoto, Japan, who I was fortunate to take up the wet brush with for one year.” Zawitz still makes calligraphy that is influenced by Morita. Zawitz’s inkand-acrylic work entitled Chaos (2015) is a good example of this. Such people were important to Zawitz’s artistic thinking, but his travels through Asia were the catalyst that glued his intellectual ideas together. Beginning in the 1970s Zawitz came to experience artistic, philosophical, and spiritual realities that had hitherto been mostly studied from a distance. The iconography of Buddhism, Taoism, Hinduism, and Zen, for example, became living things. The vibrant worlds of South and Southeast Asia and China and Japan forced their way into Zawitz’s mind in ways that surprised him. “My travels in Asia still inspire. The multitude of forms and shapes and symbols [of these cultures] continues to have a profound effect [on my art and life.] Asian art has an aesthetic and a resonance that the West is embracing more everyday. In life an artist has to follow their instincts and their heart. To choose a place that was important in my spiritual and aesthetic development is very difficult. But to pick a favorite for artistic development, it ties

Richard X. Zawitz, Statue of Infinity 8.20, 2013, stainless steel, 10' x 8'. Renaissance Harbour View Hotel, Hong Kong.

between Kyoto and Thailand: both were like home to me and both have deeply influenced my oeuvre.”

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Richard X. Zawitz, Torso, 1970, serpentine and pine, 48" x 24" x 14".

Richard X. Zawitz, Infinite 12.128t (conceptual environment), stainless steel, 48' x 60'. SPRING 2015

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t the University of Hawaii Zawitz made a stone sculpture for his senior thesis, which was, as he says, based on his “discovery of the Tangle Particle,” something that would become essential to his creative process and the heart of a toy that would sell millions. In 1975, Zawitz invented a product called Tangle, which “came about as The Infinite Sculpture that became a mass-produced art object bringing sculpture and creativity to the masses.”3 “The essential manifestation of the ‘Tangle Particle’ is as a spiral, wave, curve, circle, or arc. In nature and science it is found in galaxies, proteins, light waves, sound waves, hurricanes, cyclones, the growth patterns of all manner of flora and fauna, and in every culture’s art and design or textile design that uses knots, curves, spirals, waves, or circle.”4 All these are fundamental characteristics of the essential energy of his sculptural forms, especially his stainless steel works. Zawitz’s demands of himself, that he ‘enliven and delight’ with innovative work and of helping perceptions of the world change through his art, are tough. Even if successful, it is hard for the artist to know how well he has succeeded. How well he has achieved his aims is also, of course, personal to each individual looking at it. What is clear to me is that his sculptures are a unique combination of Asian and Westerns traditions and always surprising. His abstracted figurative works and his powerful abstractions, whether on a plinth or the floor, appear to float just out of one’s reach, but they do excite the imagination. There is an engaging sense, too, WORLD SCULPTURE NEWS 41

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World Sculpture News Article Spring 2015

of Zawitz working with the notion of less is more, where his meandering lines are like “the threads of our dreams.” One sees this in his lyrically curving abstractexpressionist figurative works entitled Infinite Woman (2012), Infinite Man (2015), and Infinite Walker (2014). Zawitz is emphatic on “I am an avowed curvist,” seeming to say that in these figures everything is “reduced to an essential void,” one in which the viewer’s contemplative mind wanders within that emptiness, much as one does in Zen Buddhist meditation: the important part of the form is where nothing exists.

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hese works, and others such as Infinite Cloud (2014) and Infinity 3487211 (2015), are also informed by Zawitz’s close connection to East Asian culture through calligraphy, one of the most important aspects of Asia’s daily visual aesthetics, from simple printed texts to various hand-written forms, among them seal, regular, cursive, semi-cursive, and

Richard X. Zawitz in his studio in Hong Kong.

clerical scripts, that make up the calligraphic traditions of China, Japan, Korea, and Vietnam. One cannot escape such things in daily life: even the myriad neon signs that clutter the streets of towns and cities, large and small, take on the suspense of colorful sculptures. Audiences want a sense of the dramatic whether it is the stiff, open forms by French conceptual artist Bernar Venet (b.1941) or the dramatic elegiac forms by British-Indian sculptor Anish Kapoor (b.1954) or the lyrical stainless steel Phoenixes by the great Taiwanese sculptor Yuyu Yang (Yang Yingfeng; 1926–1997). The spirals and vortexes and curves that dominate much of Zawitz’s philosophical and spiritual thinking fill the mind’s eye with such drama. In a vital aesthetic way Zawitz is not only making sculpture, he is, I propose, through his fluid, infinite line, “writing sculpture.” In his animal forms, for example, he has carefully given his animal’s body a cursive line, even a grass script one that lightens the dynamism of

Above left: Richard X. Zawitz, Infinite walker X12, 2014, stainless steel, 150 x 40 x 30 cm. Above center: Richard X. Zawitz, Infinite Woman, 2012, stainless steel, approx. 6 2/3 x 3 1/3 x 3 1/3 ft. Above right: Richard X. Zawitz, Infinite Man X 1889, 2015, stainless steel, 200 x 60 x 60 cm. 42 WORLD SCULPTURE NEWS

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World Sculpture News Article Spring 2015

Richard X. Zawitz, Infinite Cloud X2288, 2014, stainless steel, Swarovski elements, 100 x 200 x 50 cm.

its presence. One is instantly aware of this in his monumental Infinite Horse (2012) [see Cover] that seems as if it is being carried by the wind. While his horse appears at first glance quite fragile, its sheer size suggests the vitality that we most commonly associate with the animal. The horse is symbolic of myriad good and bad influences in so many cultures, even in our post-modern age. Zawitz’s Infinite Horse is symbolic of so much of Asian history and culture. The archetypal horse is associated with, as Jean Chevalier and Alain Gheerbrant write: “… the beginning of time with darkness and with the chthonian world from which it sprang, cantering, like blood pulsating in the veins, out of the bowels of the Earth or from the depths of the sea … the mysterious child of darkness and carrier of death and life ….”5 Zawitz, with his horse, reveals something of a personal poetic sensibility that informs all his art.

works in Zawitz’s oeuvre whose forms are reminders of sculpture’s poetic potential, but his “writing sculpture” is not mere casual eye candy. His art, though occasionally sentimental, engages with us in a most forceful manner. His grand artistic statements, from the real to the virtual, are ambitious indeed, remarkable epic poems whose power lingers in the mind long after one has left their presence. Infinite Touch (2012) is an excellent example of his grand visual statement that harks back to his notion of flowing sculptures being “like the threads of our dreams.” Zawitz loves steel. “I like hard sur-

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t is easy to imagine the heavy stainless steel forms of his Infinite works as thick, bold, brushstrokes drawn by an invisible hand. Here Zawitz utilizes his studies of Japanese and Chinese calligraphy to dramatic effect. By creating this calligraphic impression Zawitz brings the physical reality of his work forcefully into the cultural ambit of many audiences for whom sculpture ordinarily appears difficult, if not impossible, to comprehend. But his flowing lines and almost snake-like articulations of his monumental artworks placed in the atriums of hotels such the Renaissance Harbor View and the JW Marriott in Hong Kong, as well as many public spaces, alters their environments significantly: strangers pause to gaze and for a moment or two dramatic sculptures such as Statue of Infinity 8.20 (2003) and Infinity 6.34.r9 (2009) are challenging images that demand attention and thought. Of course there are numerous SPRING 2015

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Richard X. Zawitz, Chaos, 2014, ink, acrylic, and mixed media on canvas, 200 x 100 cm.

faces that can hold a high polished finish. With stainless steel I can experiment and create surprises.” There is no question of the elegance of his polished stainless steel surface but with his intensely tactile Infinite Touch Zawitz extends his concern with surface texture and color. Infinite Touch is fiberglass, plastic crystals, silicone, and stainless steel: the varying colors of the materials lend the work a sense of excitement akin to a performance. Even as Infinite Touch sits on supports, it seems to float like his Hanging Cloud (2013), whose shiny endless surface is suddenly broken up by the subtle touch of blue Swarovski crystal. Textural and material changes on the surfaces alter one’s perception not only of the work itself but also of its emotional impact. Zawitz’s experiments with materials and forms are again evident in his recent tall fiberglass work entitled Alien DNA – Red Bump Series (2015). This lively blue and red piece at first repulse as it suggests a diseased organism, a science fiction monster engineered to create fear and panic. Yet, there is something serious and playful about this work that is so different from most of Zawitz’s oeuvre. This difference also permeates his myriad Tangle toys (small pieces of calligraphy), the diverse surfaces offering with pleasant tactile and emotional experiences. “The DNA formation in my Tangle invention is an aesthetic and scientific accident,” says Zawitz. “They resulted from my manipulation of the curves. And they also depict infinity.” Looking at Zawitz’s works and talking with him over the past 15 years, it is easy to imagine him as an artist who lives between Tao and Infinity, a poetic sculptural soul trapped by the demands of the firmness of the earth and the magic of the void. He sees “curves in art and nature that are from birth of time and space. In art, they are everywhere.” But in his current body of work called Infinity WORLD SCULPTURE NEWS 43

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World Sculpture News Article Spring 2015

Art nature remains vital to the soul of its success while his depiction of anthropomorphic forms all curve. One senses in his art not only his struggles with the contradictions between the physical reality of sculpture and the spiritual but also something of the child who “was attracted to subtracting material from blocks … to carve balsa wood to make model airplanes in 1950s Pittsburgh,” who became the man who “discovered Chinese Taoist philosophy [through which to develop] my innate sense for filling space and understanding aesthetics [that] have enabled me to express myself. I love sculpting and the act of creation.”

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n the act of making Richard Zawitz travels between reality and the threads of his dreams to educate. For him “infinity is in all of us and in all things we perceive. Man and his symbols are my raison d’être for being creative, a sculptor, and as a performer with public exhibitions. I want to spread the gospel of man and his symbols and the power of creativity as far and as wide as I possibly can in this lifetime and beyond. Nature is our guiding force and pervading energy. Humans are lost in a void. Why do humans pay vast sums to acquire and own art? [Because] there is power and energy to art. Creativity is infinite. I am on a relentless pursuit to manifest its spirit.” Whether he is dealing with smooth polished stainless steel or the colorful and grotesque forms of his new Alien DNA series, Zawitz understands well that things change, that the creative process is uncertain. He sees the uncertainty and transience of our journeys through Tao and Infinity, knowing that nature takes its own course and arrives on our doorsteps of its own volition, although, as Zawitz says, we “must be open to energy and follow the flow.” Through his art Richard Zawitz has no problem arriving at the gates of our imaginations “to enlighten and to delight.” ∆

Notes: 1. Unless otherwise stated all quotations are from interviews with the artist in Hong Kong on November 20, 2014 and March 29, 2015, as well as e-mail correspondence between June 6 and June 19, 2015. 2. The Stars my Destination (1956) was also published in England under the title Tiger! Tiger! (1956) by the American writer Alfred Bester. 3. By 2010 Zawitz’s small sculpture toy called Tangle “had sold more than 100 million copyrighted editions globally.” This sculpture is used in education and as a therapeutic tool. 4. From Richard X. Zawitz’s artist statement in Infinity and Tao, by Jonathan Thomson, published by Infinity Gallery, Hong Kong, 2010, pg.2-3. 5. Dictionary of Symbols by Jean Chevalier and Alain Gheerbrant, translated by John Buchanan-Brown, Penguin Books, London, Richard X. Zawitz, Alien DNA – Red Bump series X 28, 2015, fiberglass, 200 x 60 x 40 cm. Photograph: UK, 1996, pg. 516. Michael Marsden Photography Hong Kong. 44 WORLD SCULPTURE NEWS

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Milk X Magazine Article Hong Kong, October 2015

刀䤀䌀䠀䄀刀䐀堀娀䄀圀䤀吀娀

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䨀甀猀琀 戀攀昀漀爀攀 氀攀愀瘀椀渀最Ⰰ 刀椀挀栀愀爀搀 挀愀氀氀攀搀 洀攀 愀渀搀 琀栀攀 瀀栀漀琀漀最爀愀瀀栀攀爀 戀愀挀欀Ⰰ 猀愀礀椀渀最 琀栀愀琀 栀攀 昀漀爀最漀琀 琀漀 搀攀洀漀渀猀琀爀愀琀攀 栀漀眀 栀攀 甀猀甀愀氀氀礀 搀漀攀猀 攀砀攀爀挀椀猀攀 眀椀琀栀 琀栀攀 猀琀攀攀氀 戀攀愀洀 椀渀 栀椀猀 猀琀甀搀椀漀⸀ 䤀渀 愀渀 椀洀ⴀ 瀀甀氀猀椀瘀攀 瀀栀礀猀椀挀愀氀 挀漀洀瀀攀琀椀琀椀漀渀 眀椀琀栀 漀甀爀 礀漀甀渀最ⴀ愀渀搀ⴀ猀琀爀漀渀最 瀀栀漀琀漀最爀愀瀀栀攀爀Ⰰ 椀琀 眀愀猀 樀愀眀ⴀ搀爀漀瀀瀀椀渀最 琀漀 猀攀攀 刀椀挀栀愀爀搀 挀漀洀瀀氀攀琀椀渀最 瀀甀氀氀ⴀ甀瀀猀 漀昀 洀漀爀攀 琀栀愀渀 ㄀  琀椀洀攀猀 眀椀琀栀漀甀琀 瀀愀甀猀椀渀最⸀ 䤀琀 眀愀猀  栀愀爀搀 琀漀 戀攀氀椀攀瘀攀 琀栀愀琀 琀栀椀猀 攀渀攀爀最攀琀椀挀 愀渀搀 挀栀攀攀爀昀甀氀 洀愀琀甀爀攀 愀爀琀椀猀琀 眀椀琀栀 猀椀氀瘀攀爀 栀愀椀爀 眀椀氀氀 猀漀漀渀 攀渀琀攀爀 栀椀猀 㜀 猀⸀ 匀栀漀甀氀搀 礀漀甀 眀椀猀栀 琀漀 洀愀椀渀琀愀椀渀 愀 氀椀瘀攀氀礀 瀀攀爀猀漀渀愀氀椀琀礀 昀漀爀 猀甀挀栀 愀 氀漀渀最 琀椀洀攀Ⰰ 攀椀琀栀攀爀  栀攀愀爀琀 漀爀 猀琀爀攀渀最琀栀 椀猀 椀渀搀椀猀瀀攀渀猀愀戀氀攀⸀

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Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster


Michael Jackson on the cover of Vogue Italia, June 2009 featuring Tangle Museum Chrome

Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster

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Sculpture-tainment Famous Models, Dragon Centre, Hong Kong

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Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster


Sculpture-tainment Famous Models, Dragon Centre, Hong Kong

Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster

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Richard X Zawitz Infinity Furniture Installation 2009, Salon D’mobile Milano

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Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster


Richard X Zawitz Infinity Furniture Installation 2009, Salon D’mobile Milano

Above & Left: Infinity Light Aluminum Exhibited in Salon D’mobile Milano Right on the top: Infinity Alpha 4.16 Stainless Steel, Acrylic Exhibited in Salon D’mobile Milano Right on the bottom: Infinity Beta 4.16 Stainless Steel, Acrylic Exhibited in Salon D’mobile Milano

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Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster

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Richard X Zawitz Sculpture Installation Media for Infinity 6.34

Featured in Mr. Jan 2010

Featured in Esquize Jan 2010 22

Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster


Richard X Zawitz Infinity and Tao One Man Show Video Interview Clip

Interview clip from now TV programme - Lifetival Released 11 Aug 2012, 9pm now TV channel 101 Interviewd by Mandy Lieu

Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster

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Richard X Zawitz Sculpture Installation Parc 66, Jinan, China

Above: Infinity Z-28 Stainless Steel Permanent placed in Parc66 Jinan, China Left: Infinity Z-29 Stainless Steel Permanent placed in Parc66 Jinan, China

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Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster


Scene from Entourage movie 2015, Doug Fregolle Estate, Hollywood Hills, CA

Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster

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Richard X Zawitz Infinity and Tao One Man Show Featured in Precious Magazine, Hong Kong, 2012

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Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster


Richard X Zawitz Infinity and Tao One Man Show Newspaper & Magazine Clip Featured on The Standard 20 July 2012

Featured on Gafencu Men Sept 2012

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Richard X Zawitz Infinity and Tao One Man Show Newspaper & Magazine Clip

Featured on The Sun 23 July 2012

Featured on Tai Kung Pao 25 July 2012

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Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster


Richard X Zawitz Infinity and Tao One Man Show IFC Main Atrium, Hong Kong, 2012

Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster

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Richard X Zawitz Infinity and Tao One Man Show July 2012, Oval Atrium, IFC mall, Hong Kong

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Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster


Richard X Zawitz Infinity and Tao One Man Show Newspaper Clip

Featured on South China Morning Post 22 July 2012

Featured on Ming Pao 26 July 2012 Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster

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Richard X Zawitz Infinity and Tao One Man Show Newspaper Clip

Featured on South China Morning Post 15 July 2012

Featured on Oriental Daily 23 July 2012

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Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster


Richard X Zawitz featured on cover Lifestyle Magazine, June 2010

Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster

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Richard X Zawitz Sculpture Installation JW Marriott Hotel, Hong Kong

Above & Left: Infinity 6.34 Stainless Steel Permanent placed in JW Marriott Hotel, Hong Kong

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Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster


Richard X Zawitz Sculpture Installation Ronald Tutor Campus Center, University of Southern California

Left: Infinity 8.30 Stainless Steel Permanent placed in Ronald Tutor Campus Center, University of Southern California

Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster

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Richard X Zawitz Sculpture Installation Renaissance Harbour View Hotel, Hong Kong

Above & Left: Statue of Infinity Stainless Steel Placed in Renaissance Harbour View Hotel Hong Kong

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Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster


Richard X Zawitz featured on cover Lifestyle Magazine, June 2010

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Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster

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Richard X Zawitz Infinity and Tao One Man Show Newspaper & Magazine Clip Featured on South China Morning Post

Featured in the cover of Counselor

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Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster


One Central Macau 10 Auspicious Monkeys under the Tree of Infinity Newspaper

One Central Macau Captivates with Lunar New Year Sculptures by Renowned Artist Richard X Zawitz One Central Macau Captivates with Lunar New Year Sculptures by Renowned Artist Richard X Zawitz

Installed in the atrium, the exhibition is being held from February 1 to 22, as One Central Macau embraces a seasonal celebration and contemporary art.

One Central Macau greets the Year of the Monkey with a specially commissioned exhibition by well-known sculptor Richard X Zawitz. The vibrant installation featuring 10 auspicious monkeys and the Tree of Infinity, created in Zawitz’s curving signature style, is also the artist’s first exhibition in Macau that infuses art and fortune into the city's flagship-shopping destination. At the same time One Central Macau is using the Chinese New Year to offer enticing shopping rewards and a selection of exclusive fashion and lifestyle items. Installed in the atrium, the exhibition is being held from February 1 to 22, as One Central Macau embraces a seasonal celebration and contemporary art.

Zawitz created the large-scale sculpture in the atrium with eight auspicious monkeys and the Tree of Infinity, and two further playful features monkeys across the property, to inspire happiness and bring luck to the mall’s customers. Of the 12 animals from the Chinese Zodiac, the monkey is believed to be the most spirited and intelligent, as reflected by the exuberant artwork. With a resplendent veneer of lai see vermillion, reflective gold and silver, the monkeys and Tree of Infinity connote the traditional Chinese New Year blessings of abundance and prosperity. Zawitz's artistic practice is entrenched in Asian tenets of Chinese Taoism and Zen Buddhism in a pursuit bringing positive energy into the world. This affirmative philosophy is echoed in the exhibition. What inspired the sculptor to create this exhibition are monkeys, which are also the most playful and innovative of creatures in the Chinese zodiac. They are also considered to be a symbol of luck and abound with positive energy. Concurrently the Tree of Infinity symbolizes growth as a tree that connects all the forms of creation. All customers are invited to touch the outreached hand of the gold-leafed sculpture, "Lucky Golden Monkey," under the Tree of Infinity, to receive good fortune, and sense the harmonious blessings for the New Year. (By Jessie Huang, Louis Berney) Editor:Jessie Huang

Featured on Life of Cuangzhou 3 February 2016 39

Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster


Exhibition “Infinity and Fashion” by Richard X Zawitz In collaboration with JW Anderson Newspaper Clip

The Story Behind J.W.Anderson’s Twisted New Bags OCTOBER 26, 2015 by STEFF YOTKA

Spend five minutes playing with Richard X. Zawitz’s Tangle Creations and you’ll be hooked. The toys, actually smaller-scale models of Zawitz’s fine art sculptures, are made of interlocked 90-degree curves that can be twisted and bent into a plethora of poses. The process of winding and twisting the pieces is addicting, perhaps more than it should be because no matter how hard you try to make something useful from the shining forms, they evade any common functionality. They’re slightly too large to be a bracelet, too small to be a necklace, and not the right proportion for a penholder or a bookend. But leave it to J.W.Anderson to solve the problem: The brand partnered with Zawitz on handles inspired by the Tangles for its Spring 2016 bags, and the results are as arresting as the toys themselves. “They just contacted me out of the clear blue sky,” Zawitz explains over the phone from Hong Kong, where he spends part of the year working. “I’m not in the fashion industry, so I had not heard of J.W.Anderson, but since working with them, I’ve become well acquainted with the young man and know they’re a hot young brand coming to the fore.” The collaboration was completed via conference calls and Skype, with the artist contributing ideas from his San Francisco studio to Jonathan Anderson’s team in London. The resulting brightly hued pouches with the Tangles as handles became an Instagram sensation following the label’s show, thanks in part to a photo shoot that occurred backstage where one of Zawitz’s life-sized sculptures was installed. For the artist, the experience of seeing his work in a fashion show and on social media was thrilling. “I’m all for the propagation of my art and everything I do. I would be selective if it wasn’t something that was aesthetically pleasing, I can tell you that for sure, but the way they presented it and the team—everything just seemed absolutely perfect in the sense that we were going to get along and they had a delightful functionality for the sculpture,” he says. Since the runway show in September, he has been honing the bag design with Anderson’s team before they are produced for sale this spring. And though he’s never produced a fashion piece before, Zawitz is no stranger to the world of fashion at large. His Tangles have been worn by Grace Jones and Michael Jackson, who sported a large-scale version in L’Uomo Vogue’s cover story lensed by Bruce Weber back in 2007. Zawitz has also developed a methodology to turn his twisting sculptures into shoes. “I’m entirely inspired by working with J.W.Anderson and would very much like to continue in this world,” he notes. “I very much like fashion—I’m a Zegna man, myself—but I appreciate fashion as art.”

Featured on VOGUE 26 October 2015 Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster


One Central Macau 10 Auspicious Monkeys under the Tree of Infinity Newspaper Clip

Richard X Zawitz at One Central Macau

Richard X Zawitz sculptures are at One Central Macau until 22nd February, 2016. The exhibition is hosting 10 Auspicious Monkeys under the Tree of Infinity. These Monumental Lunar New Year Sculptures are meant to bring happiness, positive energy and great luck! With a resplendent veneer of lai see vermillion, reflective gold and silver, the 10 Auspicious Monkeys connote the traditional Chinese New Year blessings of abundance and prosperity. Globally recognized, Richard X Zawitz’s artistic practice is entrenched in Asian tenets of Chinese Taoism and Zen. www.richardxzawitz.com

Featured on Paris Art Ltd 13 FEBRUARY 2016 Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster


Richard X Zawitz, Sculptor Richard X. Zawitz, Sculptor, Inventor andTangle Master, was born in Pittsburgh, Pennsylvania, known for its steel industry and Andy Warhol. Richard has always felt an innate calling to a higher life purpose that would draw him outside the industrial, steel town that he grew up in. Since the late 1960s, Richard X. Zawitz’swork has been devoted to the essences and energies which first became manifest to him through Chinese Taoism, the entire alchemical pantheon of the formand formlessness of Asian philosophy and metaphysics. With the good fortune of history, inparticular the mind-freedom, revolution and counter-cultural phenomenonmovements in the mid-1960s, matchinghis in-born urges, Richard was also ableto unlearn the Western bias toward aesthetics and art. Thus, as a natural-born three-dimensional plus-ist, he has chosen sculpture to be the medium for his art. Richard’s body of work spans areas of the three-dimensional world and beyond. His work encompasses not only Infinity Art but Tangle Creations as well. He works with materials as diverse as plastics, stainless steel, wood, stone, glass, fauna and flora and of course, the mind. Richard has created a Universe of objects in myriad worlds and locations.

Richard X Zawitz • Sculptor, Inventor, Asian Philosopher and Tanglemaster

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Curriculum Vitae 1946 Born Pittsburgh, Pennsylvania, USA 1967-1968 University of Pittsburgh 1969-1972 University of Hawaii, Major in Fine Art Sculpture, Minor Asian Art History and Asian Philosophy 1972-1975 Travel and study in Japan, Thailand, India, Nepal. Tibet Solo Exhibitions 1968 “Richard Zawitz Solo Exhibition”, University of Pittsburgh, Pennsylvania, USA 1970 “Richard Zawitz Solo Exhibition”, University of Hawaii Art Centre, Hawaii, USA 1971 “Richard Zawitz Solo Exhibition”, University of Hawaii Art Centre, Hawaii, USA 1972 “Richard Zawitz Solo Exhibition”, University of Hawaii Art Centre, Hawaii, USA 1974 “Tantric Art in Thailand”, Bangkok Cultural Centre, Bangkok, Thailand 1985 “Zen Sculpture:, Berlin Fine Art Gallery, Berlin, Germany 1990 “Richard Zawitz: Asia Meets the West”, Plum Blossoms Gallery, Hong Kong 1991 “East Meets West: The Taoist Art of Richard Zawitz”, Plum Blossoms Gallery, New York, USA 1995 “Richard Zawitz: Sculpture”, Hong Kong Convention and Exhibition Centre, Hong Kong Commissions / Placements 1968 “Untitled”, Cor Ten Steel, University of Pittsburgh Campus, Pittsburgh, Pennsylvania, USA 1975 “Untitled”, Stainless Steel, Boston University Campus, Boston, Massachusetts, USA 1978 “Untitled”, Stainless Steel, Granite, Bank of America, San Francisco, California, USA 1981 “Untitled”, Stainless Steel, Hyatt Hotel, Chicago, Illinois, USA 1983 “Untitled”, Stainless Steel, Hyatt Hotel, Taipa, Macau 1984 “Untitled”, Stainless Steel, Hong Kong Convention and Exhibition Centre, Hong Kong nia, USA thern California, Los Angeles, California, USA Hong Kong One Man Show Coming One Man Shows Infinity and Fashion, colette, Paris, Feb 29th to Apr 4th 2016 Hong Kong, Oct 24th to Nov 17th 2016

www.richardxzawitz.com / @richardxzawitz / #richardxzawitz

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Richard X Zawitz Press Kit 2016  
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