Lot Essay
Executed in 2011, Bird's Watcher is an iconic work from Dia Al-Azzawi's outstanding sculptural oeuvre. A man is sat on the edge of a golden narrow elongated structure, looking towards the sky in the search of flying birds. The asymmetrical posture of the man, hugging one leg with his arm and the other one hanging down, suggests his contemplative state of mind.
He comments ‘My work is part of the Renaissance of Arab Art trend, yet it is universal in its dimension and interlocked within contemporary history and culture’. (R. A. Proctor, ‘Dia Azzawi: I AM THE CRY’, in Harper’s Bazaar Arabia, 14 February 2017). This sculpture encapsulates the artist’s keen self-awareness, remarkable mastery, and lively reverence for the material culture of his birthplace, representing a modernist take on traditional Iraqi art with the skillful blending of Mesopotamian iconography. It showcases the genius of a pioneer of modern Iraqi art for seamlessly blending the past and present, harmonising the artist's engagement with Iraq's political landscape, its enduring turmoil, and the nuanced sophistication of its contribution to the rich global heritage. Having moved to London in 1976, painter, sculptor, etcher and draughtsman Dia Al-Azzawi realised that by looking at Iraq from afar, he could understand more about Iraq and Arabic culture than if he had stayed back.
He comments ‘My work is part of the Renaissance of Arab Art trend, yet it is universal in its dimension and interlocked within contemporary history and culture’. (R. A. Proctor, ‘Dia Azzawi: I AM THE CRY’, in Harper’s Bazaar Arabia, 14 February 2017). This sculpture encapsulates the artist’s keen self-awareness, remarkable mastery, and lively reverence for the material culture of his birthplace, representing a modernist take on traditional Iraqi art with the skillful blending of Mesopotamian iconography. It showcases the genius of a pioneer of modern Iraqi art for seamlessly blending the past and present, harmonising the artist's engagement with Iraq's political landscape, its enduring turmoil, and the nuanced sophistication of its contribution to the rich global heritage. Having moved to London in 1976, painter, sculptor, etcher and draughtsman Dia Al-Azzawi realised that by looking at Iraq from afar, he could understand more about Iraq and Arabic culture than if he had stayed back.