Page 39 - Studio International - November 1965

Azaz

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small scale'.
What is fascinating in these sculptures is the origin and
relationship of forms. which can be traced in all his work.
When we spoke of the Sheraton Wall. for instance. he
showed me a photograph of a section of the old town of
Cesarea and point to the influence of the visual aspect
of Israel. with its old and new shapes. on his work.
The remarkable fusion of the residual impressions
of a rich and varied experience. artistic as well as tech­
nical. has given Azaz·s work a powerful individuality.
The influence of Zadkine can be seen in the cubist­
expressionism-the hard. jagged. sometimes brutal
Gothic shapes. The landscape and visual appearance of
the Middle East is well evident. seen as much in the
c ne1 m basis of the Hebrew script as in the strong
affinity with Assyrian and Hittite sculpture. The long
training as a master-craftsman has given him a deep
respect for material. 'As a sculptor I conceive in each
material. do not impose my ideas on them; stone must
feel stone. clay must feel clay, bronze is metal. I do not
bend metal so that it looks like cloth. I have no emo­
tional preference for materials'.
Behind the solid convictions. the outspoken assess­
ments. the personal ambition and determination. one
also senses a deep humility in Azaz. There are no false
illusions about the exclusiveness of art. He sees himself
as a servant of society, a contributor to the well­
being. the aesthetic environment. of mankind. ■

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