 The Conclusions of Memory
Anthony Ardivan Wants You to Take a Look Outside, and In
By Angie Hargot
Painter and sculptor Anthony Ardivan has quite the artistic resume — not surprising when your career began at 4. One of Ardivan’s earliest memories is of drawing pictures on the tile floor of his parent’s house in Cuba.
Born in Santiago de Cuba, receiving his Batchelor's degree from Florida Atlantic University, and having prolifically exhibited all over the South in Tennessee, Texas and Georgia, Ardivan finally relocated from Atlanta to South Florida just four years ago. Since 2006, Ardivan has shown in no less than 23 exhibitions spanning the Eastern seaboard.
Ardivin says the inspiration for his work derives from archetypal images captured in everyday situations, as well as from the people around him. Like the recurring symbol of windows in his paintings, the end result is intellectually symbolic images that compel a long look inside, a look which reveals “the fragility of life, and how easily our intentions are overcome by outside forces,” he says.
Often using organic media that are universally familiar, such as wood and newspaper, Ardivan reminds the viewer of the value of everyday objects.
 In his “Fragile Series,” he attempts to simplify concepts while remaining in a strict construction of color and composition.
Other recurring themes are the geometric pattern, use of the 3-dimentional, and nostalgic references to a past, albeit a purposely amorphous one: Ardivan wants the viewer to scour their memories and arrive at their own questions — and their own answers.
How do you use the elements of dimension and perspective to create the image?
My heroes were Goya, Picasso and Dali - their work is totally irreverent to dimension and perspective. I think I got that from them early on. I learned not to pay attention to realism and to create the image from an internal place. I seldom regard scale as important in the work - what's important, I make larger or sometimes infinitesimally small, so the viewer has to pay very close attention to what is happening in the picture.
Windows are also prevalent.
Windows have always been part of my work — a recurring symbol that represents a keyhole to the unknown. I'm always curious about what is behind it, like an unopened door. Except that the window gives you just a glimpse of what you might be missing.
 Does the term surrealism apply?
I truly do not know where surrealism in art is right now. I don't follow trends or what seems to be the hot ticket. I never think of my work as being surreal until someone mentions it. I am not fond of labels.
What are you currently working on?
I am currently working on 3-dimensional work, which is always evolving and changing. I'm not sure from day to day where it will end up yet. I'm curious myself.
What other projects have interested you lately, even if as a spectator?
I am always fascinated by how other artists handle the human figure to portrait emotion, as well as how abstract artists handle color and form to create a tangible world.
What is the most flattering comment you’ve ever received about your work?
The most flattering comment was a recent one. I had someone say to me that when they saw one of my paintings they felt like they had read a book.
The most insulting?
It was surely meant as a complement: "It looks like a photograph."
 Your most memorable piece so far?
My most memorable piece is always the most recent work, because it is the compilation of everything that has come before. Everything that I have learned goes into the last piece I have finished.
How has the art market been for you?
The Miami art market has been very kind to me. I paint with my heart, and people that collect art see that, and want a piece of it. It may sound like delirius aggrandizing but it is the only way I can explain the success that I have enjoyed since I moved here.
See more of Anthony Ardivan’s work at The ArtCenter / South Florida, Studio No. 105, 810 Lincoln Road, Miami Beach, and at picturetrail.com/ardavin.
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