Zadik Zadikian’s work can best be described as a fusion of ancient and the modern. The ancient aspect is not a reference to his technique but to the very material that ultimately covers and skins the work.

The process is a long and involved one. It is a constant evolution in material and surface.  Zadikian first begins by constructing his forms in plaster. They are then cast in resin. From here the work is transformed over and over again as the surface is altered in a variety of coats in different material. The pieces are primed several times, with fine sanding required in between layers. They are then ready to receive as many as twelve (or more) fine layers of a special clay that will make the final transformation possible. Of course, each of these clay layers will receive an ultra fine sanding, with the final sanding bringing the final surface to perfection – the final skin of gold will accept nothing less.

Gold is then applied to the surface in the ages old technique of water gilding. Leaf upon leaf of gold is cautiously unto the immaculate surface. After this most dramatic of transformations the form is left to dry overnight.

Early the following morning, Zadikian kneels before the golden form.  He sways ever so gently as his arms move vigorously back and forth, inch by inch, giving the form its final transformation. The act of stone burnishing every last bit of surface, creates the mirror like surface of the finished work. In this way Zadikian combines modern forms, a centuries old process, and an ancient material, creating the ritual that is his art.