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...classics echo constantly throughout Hadzi's work. Many of his earlier, more representational works involve the mythical figures of centaurs and lapiths. Later series evoke images of helmets, shields and arches. And if the sculptures themselves are not heroic enough certainly their names are "Delphic Omphalos," River Oracle," and "Naxian Object...

Author: By Merin G. Wexler, | Title: Bronze and Granite | 6/9/1983 | See Source »

...Lately, Hadzi's work has been moving in a new direction. In his own words, he is "getting away from the Baroque and Hellenistic influences and to much simpler and more powerful forms." Also, he has begun working in stone...

Author: By Merin G. Wexler, | Title: Bronze and Granite | 6/9/1983 | See Source »

...similar trend away from his earlier style, Hadzi's work has gotten progressively larger. The four major commissions he has taken on since 1978 vivify this change in their immutable grandeur. In 1978 he completed a colored granite floor mosaic and 16-foot fountain for the headquarters of Johnson Wax in Racine, Wisconsin. Three years later, at the world headquarters of Owens-Illinois in Toledo, Ohio he unveiled his mammoth 36-foot granite "Propylea," its name recalling the welcoming gates of the Acropolis...

Author: By Merin G. Wexler, | Title: Bronze and Granite | 6/9/1983 | See Source »

Currently, Hadzi has two commissions on his hands. Later this year he will see the installation of his yet-unnamed sculpture fountain in the indoor atrium of the new Copley Place mall in Boston. Running up and down the center of the 60 by 30-foot sculpture are large granite pieces with varying colors, shapes and textures. Water runs down from the top, occasionally disappearing behind the granite. Flanking the middle section on either side are "gates" of travertine from Italy, Turkey and Iran. The inside edges of the travertine billow in and out like waves, or what Hadzi calls...

Author: By Merin G. Wexler, | Title: Bronze and Granite | 6/9/1983 | See Source »

...Hadzi's extensive research for the Copley Place project reveals his thoughtful approach to commissions. "The gates are welcoming, but it has to be about Boston. New England and America. I thought of water and seamen from the harbor and so the different angels of granite and water are like seamen's knots." One of the recurring problems with fountains, he adds, is how to get the maximum water effect with the minimum water...

Author: By Merin G. Wexler, | Title: Bronze and Granite | 6/9/1983 | See Source »

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