Roy Adzak (1927 Reading, UK – 1987 Paris, France),born Royston Stanley Wright, was an artist working primarily in sculpture, photography, engraving, and painting, exploring visual perception through volumes, voids, reliefs, and imprints. He first studied engineering and architecture, receiving a degree from the University of Reading, which enabled him to emigrate to Wellington, New Zealand, where he worked as a construction engineer, drawing inspiration from natural traces left on desert sands and animal drawings of Aboriginal artists in Australia. He then travelled through western Asia and the Middle East, taking his last name from an Afghan family, who had welcomed him during his stay in 1955. In Afghanistan, he joined an archaeological dig and became enthralled with the illusion of relief forms. These aspects of the trace, the silhouette, and the play between the absence and presence of forms, became fundamental to his practice. Adzak returned to Europe the following year, settling in Paris where his practice expanded into works around anthropomorphic molding and imprinting. Adzak designed and built the “Container Museum,” his sculpture studio in Belleville. Inaugurated in 1984 as the Musée Adzak, it hosted residencies and exhibitions. The artist books Fire-imprint (1975) and Roy Adzak: dehydration = déshydratation (1978) are included in the collections of The Museum of Modern Art in New York and the Tate in London. Additional collections with works by Adzak include the Stedelijk Museum Amsterdam, the Peggy Guggenheim Collection in Venice, the Toronto Museum, and the National Gallery of Art, Washington, D.C. Adzak has been featured in exhibitions at the Centre Pompidou in Paris, the Malmö Museum, and the Oldenburger Kunstverein.

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