Hasan Ozudogru

Sculpture (MA)

About

I am a sculptor based in London, United Kingdom. I earned my BA in Fine Arts from the University of Hertfordshire (2019-2023) and am currently pursuing an MA in Sculpture at the Royal College of Art, starting in 2024.

As an emerging artist, my work has been featured in several exhibitions in London and its surrounding areas. Notable exhibitions include “Model Village 2.0” at the WIP Gallery and “Water, Oil, Honey” at the Crypt Gallery in 2024, as well as “Modern Materials” at the Truman Brewery in 2023. In 2024, I was honoured to receive a scholarship from Cyprus to support my artistic endeavours.

Currently, I am completing my MA in Sculpture at the Royal College of Art and working as an exhibition support technician at the same institution.

Currently, I am completing my MA in Sculpture at the Royal College of Art and working as an exhibition support technician at the same institution.

As a sculptor specializing in large–scale works that explore themes of political conflict and issues that resonate with a broad audience. My background and upbringing have significantly influenced my choice of subject matter. Growing up in Cyprus, an island divided since 1974 for 50 years has driven me to examine themes of division and boundaries, where friendships, neighbours, cultures, and land are fractured.

My practice is deeply research-based, involving thorough investigations into history, politics, and contemporary issues facing society. Usually starting point of my work is daily news. This not only keeps me informed about global stories but also ensures my sculptures and installations remain current and relevant.

I employ materials such as metal and wood in my works. The choice of material in my sculpture is a crucial part of my practice. Materials like wood and metal are repurposable, allowing me to transform one sculpture into another, thereby promoting sustainability. Additionally, I see metal and wood as inherently political materials due to their extensive use in the war industry.

Working with metal gives me a sense of constant conflict, as I struggle to bend or cut it, questioning whether I will win or lose the fight. This battle with the material reflects the tension and resistance inherent in the medium, adding depth to the works. Moreover, working with metal evokes memories from my childhood when I used to create small sculptures from metal sheet scraps in my dad’s metal workshop. This personal history deepens my connection to the material and profoundly informs my artistic practice.

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