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Antoine Donzeaud

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Eckart Hahn

Felicity Hammond

Byzantia Harlow

Neil Harrison

Clinton Hayden

Colleen Heslin

Oliver Hickmet

Aaron Holz

Edward Hopley

Gary Hume

Christoffer Joergensen

Tamara K.E

Olivier Kosta-Thefaine

Olaf Kuhnemann

Bruce LaBruce

Janneke Van Leeuwen

Tomáš Libertíny

Gijs Van Lith

Tom Lovelace

Kate Lyddon

Nigel Massey

Roberto & Renato Miaz

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Ryan Mosley

Benjamin Murphy

Jose Carlos Naranjo

Regina Nieke

Sarah Pager

Selma Parlour

Yelena Popova

Martine Poppe

Tony Romano

Lou Ros

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Sebastian Schrader

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Dominic Shepherd

Pawel Sliwinski

Berndnaut Smilde

Evren Sungur

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Jonathan Zawada

Leonardo Ulian

Inquire about this work

technological mandala 66 – Uriel (2016), electronic components, microchip, speaker, copper wire, wood frame, 110x115x4.5cm
'Contrived Object 02 – King of the Centre' (2015), wooden tennis racket, electronic components, microchip, copper wire, 69x23.5x4cm
Technological Mandala 96 (2016), electronic components, cooper wire on paper, wooden frame, 50x50cm
'Technological mandala 91 – Come in alto così in basso' (2016), electronic components, copper wire, stainless steel frame, springs, microchips, speakers, 195x83x4.5cm
Technological mandala 59 (2015), electronic components, copper wire, paper, wood frame, 154x154cm
Technological mandala 62 – Helios (2015), electronic components, speakers, copper wire, paper, wood frame, 154x154cm
Technological mandala 81 (2016), electronic components, copper wire, paper, wood frame, 83x83x4.5cm
Technological mandala 32 – Seal of the four corners (2016), electronic components, copper wire, paper, wood frame, 133x 133x5cm

The ideas and concepts behind Leonardo Ulian’s work stems from a profound interest in how systems can be applied in the process of making art, how something can survive within a scheme of convention, exploring the system itself in order to understand it, and perhaps, trying to find a condition of artistic autonomy within the framework created. Like Mondrian’s grids lifted from the constraints of their 2-dimensionality, the abstraction in his work appropriates ideas of reincarnation, and displaced communication, which is also a concept found within the 'mandala' form that has been appropriated from Buddhist and Hindu religions, hereby finding a newly formed meaning as much resulting from their new forms as they have from their apparent lack of defined structure. Ulian defines himself as a multimedia artist, and his art as playthings similar to childhood toys in that objects can be seen as a series of distorted mirrors of the everyday, a caricature of the real. This of course does not always have to be pleasant and/or easy to use but must possess – above all – a high degree of play value, which defines the capacity of a toy or artifact to stimulate and engage the viewer. In this instance, attention is moved away from the spectator to familiar places (usually from childhood) which have often been long forgotten but triggered and remembered as a result of the unconscious rational deep within. Ulian also works with sound installation and as co-founder of [The Apathy Band], he creates a noise environment using homemade toys while surreal stories are read along side these creations. He works and lives in London, UK.



LEONARDO ULIAN (b. 1974, Gorizia, Italy) has had solo-exhibitions including Sacred Space with Beers Contemporary, London (2013); Flames, Roses, and Wires, Shaft Gallery, London (2010), and Iperuranio, Kobo Art Space, Udine, Italy (2009). He also exhibited with Beers Contemporary at the London Art Fair (2013 & 2014). Selected group exhibitions include: Medley, Chicago Urban Art Society, Chicago, US (2013);
 Kinetic art fair, London (2013); Timewave Zero, Espacio Valverde, Madrid, Spain (2012), Motion 1, Syzygy Art Space, London (2012); Bow Art Open, Bermondsey Project Space, London (2012); Condensation, Immaginare il Tempo, Clauiano, Italy (2011); Umlaut, Hales Gallery, London (2009); Three by Three (IV), Yinka Shonibare Project Space at Sunbury House, London (2009).  Ulian was also awarded the Owne Rowley Award in London (2009), as well as the Stamps of the XX Century (national prize) in Udine, Italy (2000). He has been collected by the fashion house Hermès of Paris International and Fidelity Worldwide Investments.


The ideas and concepts behind Leonardo Ulian’s work stems from a profound interest in how systems can be applied in the process of making art, how something can survive within a scheme of convention, exploring the system itself in order to understand it, and perhaps, trying to find a condition of artistic autonomy within the framework created. Like Mondrian’s grids lifted from the constraints of their 2-dimensionality, the abstraction in his work appropriates ideas of reincarnation, and displaced communication, which is also a concept found within the 'mandala' form that has been appropriated from Buddhist and Hindu religions, hereby finding a newly formed meaning as much resulting from their new forms as they have from their apparent lack of defined structure. Ulian defines himself as a multimedia artist, and his art as playthings similar to childhood toys in that objects can be seen as a series of distorted mirrors of the everyday, a caricature of the real. This of course does not always have to be pleasant and/or easy to use but must possess – above all – a high degree of play value, which defines the capacity of a toy or artifact to stimulate and engage the viewer. In this instance, attention is moved away from the spectator to familiar places (usually from childhood) which have often been long forgotten but triggered and remembered as a result of the unconscious rational deep within. Ulian also works with sound installation and as co-founder of [The Apathy Band], he creates a noise environment using homemade toys while surreal stories are read along side these creations. He works and lives in London, UK.



LEONARDO ULIAN (b. 1974, Gorizia, Italy) has had solo-exhibitions including Sacred Space with Beers Contemporary, London (2013); Flames, Roses, and Wires, Shaft Gallery, London (2010), and Iperuranio, Kobo Art Space, Udine, Italy (2009). He also exhibited with Beers Contemporary at the London Art Fair (2013 & 2014). Selected group exhibitions include: Medley, Chicago Urban Art Society, Chicago, US (2013);
 Kinetic art fair, London (2013); Timewave Zero, Espacio Valverde, Madrid, Spain (2012), Motion 1, Syzygy Art Space, London (2012); Bow Art Open, Bermondsey Project Space, London (2012); Condensation, Immaginare il Tempo, Clauiano, Italy (2011); Umlaut, Hales Gallery, London (2009); Three by Three (IV), Yinka Shonibare Project Space at Sunbury House, London (2009).  Ulian was also awarded the Owne Rowley Award in London (2009), as well as the Stamps of the XX Century (national prize) in Udine, Italy (2000). He has been collected by the fashion house Hermès of Paris International and Fidelity Worldwide Investments.