Brief History

Jonty Hurwitz was born in Johannesburg, South Africa and spent his early life living in small hotels in rural towns in South Africa. He studied a B.Sc (Eng) at the University of Witwatersrand in Johannesburg and worked as a full-time researcher at the University of Cape Town.

Jonty travelled for a long period of time in India studying Yoga and wood carving, before arriving in London. Jonty then spent many years in the tech startup world designing computer games and risk algorithms.

Jonty started producing sculpture in 2009.

Notable Collectors & Commissions

  • Science Gallery, Dublin
  • Hermann Collective, Austria
  • Science Centre, Singapore
  • Chugai Group, Tokyo
  • Savoy Hotel, London
  • Saudi Royal Family


  • “Is this the World’s Smallest Sculpture?”. A documentary on Hurwitz’s nano sculpture made by CNN featuring curator of the Tate Modern, Chris Dercon, sculptor Antony Gormley and art critic Estelle Lovatt. CNN Ones to Watch shines a spotlight on the up-and-coming creative talents set to be the next big names in culture and the arts. Published online and on CNN International, March 2015.

Museum Exhibitions

  • 2017, Science Center, Singapore
  • 2017, Oregon Museum of Science and Industry
  • 2017, Liberty Science Center, New York
  • 2016, Science Gallery at the Art Powerplant, Leipzig
  • 2015, Petrosains is a Science Centre, Malaysia
  • 2014, Exploratorium, Museum of Science, Art and Human Perception, San Francisco
  • 2014, Fleet Science Center, San Diego
  • 2014, Threadneedle Prize Exhibition, ICA London

Academic Papers and References

  • Art on the Nanoscale and Beyond: Advanced Materials, 2016. Yetisen, A. K. ; Coskun, A. F. ; England, G. ; Cho, S. ; Butt, H. ; Hurwitz, J. ; Kolle, M. ; Khademhosseini, A. ; Hart, A. J. ; Folch, A. ; et al.[47]
  • Technology and the Arts: Current Works of Eric Whitaker and Jonty Hurwitz. International Science and Technology Conference (ISTEC) 2015, St. Petersburg, Russia. Written and presented by Mark Konewko, Marquette University, Wisconsen, USA.[48]
  • Nanotechnology Cleans Up, Carolien Coon, Physics World, May 2016[49]
  • Appearance-mimicking surfaces. Christian Schüller, Daniele Panozzo, and Olga Sorkine-Hornung. 2014. ACM Trans. Graph. 33, 6, Article 216 (November 2014)[50]
  • Cylindrical Mirror Anamorphosis and Urban-Architectural Ambience. Čučaković, A. & Paunović, M. Nexus Netw J (2015) 17: 605.[51]
  • Two Photon Absorption & Carrier Generation in Semiconductors. F.R. Palomo1, I. Vila, M.Fernández, P.DeCastro , M. Moll, Departamento Ingeniería Electrónica, Escuela Superior de Ingenieros Universidad de Sevilla, Spain, Instituto de Física de Cantabria, Santander, Spain, SSD Group, CERN, Geneva, Switzerland[52]
  • Anamorphic Experiences in 3D Space: Shadows, Projections and Other Optical Illusions. Symeonidou, I. Nexus Netw J (2016) 18: 779. [53]
  • The Magic of Anamorphosis in Elementary and Middle School. Marina Barreto and Diego Lieban, Proceedings of Bridges 2017: Mathematics, Art, Music, Architecture, Education, Culture Pages 553–556 [54]
  • Numerical anamorphosis: an artistic exploration. Francesco de Comite and Laurent Grisoni, SA ’15 SIGGRAPH ASIA 2015 Art Papers, Article No. 1 [55]
  • Sanat ve Tasarımda Anamorfik Görüntüler (Anamorphic Images in Art and Design). Bengisu KELEŞOĞLU, Mehtap UYGUNGÖZ, Anadolu University Art & Design Magazine, Issue 7, 2016 [56]
  • Between reality and deception: the anamorphoses in visual communication (Entre a realidade e o engano: as anamorfoses na comunicação visual.), FERREIRA (UNIVERSIDADE DE LISBOA, PORTUGAL), Helena. Visualidades, [S.l.], v. 14, n. 1, set. 2016.[57]
  • Drzwi Do Nowej Percepcji – Londyński Festiwal Kinetica Art Fair 2013 / Doors To A New Perception – The London Festival Kinetica Art Fair 2013., Letkiewicz, Marek. 2014 Annales UMCS, Artes. 10(2): 95-106. Retrieved 17 Jan. 2018[58]
  • Anamorphosis in the work of foreign artists at the end of the XX-XXI century (Russian), статья в журнале – научная статья, YOUTH BULLETIN OF THE ST PETERSBURG STATE INSTITUTE OF CULTURE , 2(6), pages 136-139,2016 [59]
  • Art and Science Education in Optics: From Multidisciplinary to Transdisciplinary (Arte e Ciência no Ensino de Óptica: Da Multidisciplinaridade à Transdisciplinaridade), Claudemir Batista, Edivaldo Lima, Universidade de São Paulo, e-Disciplinas, Sistema de Apoio às Disciplinas [60]

Art & Design Awards

  • 2016, The Royal Photographic Society, Finalist, International Images for Science
  • 2015, Guinness World Records, The Smallest Animal Sculpture
  • 2015, Guinness World Records, The Smallest Sculpture of a Human Form
  • 2010, Gofigurative Art Prize, Peoples Vote, London, United Kingdom
  • 2010, Arte Laguna Prize, Finalist, Venice, Italy
  • 2009, Bentlif Art Prize, Maidstone Museum & Art Gallery, People Choice Award, United Kingdom
  • 2009, Noble Sculpture Prize, Liguria, Italy
  • 2000, New Media Age Nomination, Special Award for Innovation (Delve)
  • 2000, IVCA, International Visual Communications Association, Nomination, Award for Innovation
  • 1999, IVCA, International Visual Communications Association, Gold Award
  • 1998, BIMA, British Interactive Media Association Awards (Delve)
  • 1998, BAFTA Interactive Nomination, Best use of moving image (Delve)

Solo Exhibitions

  • 2014, Art and the Internet, Gofigurative Gallery, Hampstead, London
  • 2013, Old Street Art, Gofigurative Gallery, Solo Show, London
  • 2011, Noble Sculpture Prize, Italy

Group Exhibitions

  • 2017, SCOPE Art Show with Modus Art Gallery, Miami, USA
  • 2017, Oregon Museum of Science and Industry, USA
  • 2017, Catto Gallery, Portugal
  • 2017, Kinetica Museum 10 Year Anniversary Exhibition, London
  • 2017, Illusion: Nothing Is As It Seems, Liberty Science Center, New York
  • 2016, Walton Fine Arts, London
  • 2016, Opera Gallery, London
  • 2016, Gallerie de Medicis, Paris
  • 2016, Science Gallery at the Art Powerplant, Leipzig
  • 2016, International Images for Science, The Royal Photographic Society, London
  • 2015, Illusion Exhibition Malaysia tour with the Dublin Science Gallery, Kuala Lumpur
  • 2014, Kinetica Art Fair, Truman Brewery, London
  • 2014, Illusion Exhibition USA tour with the Dublin Science Gallery, San Francisco
  • 2014, Illusion Exhibition USA tour with the Dublin Science Gallery, San Diego
  • 2014, Threadneedle Prize Exhibition, ICA London
  • 2013, Savoy Hotel, Unveiling of Kaspar the Anamorphic Cat sculpture, Solo show
  • 2012, Kinetica Art Fair, London
  • 2011, Tower 42, City of London, Solo show
  • 2011, Art London, Royal Hospital, Chelsea, London
  • 2011, Bloomsbury Art Show (represented by Arthur Ackerman Gallery), London
  • 2011, Untitled Artists Fair, London
  • 2010, Arthur Ackermann Gallery, London
  • 2010, Art London, Represented by Arthur Ackermann Gallery, London
  • 2010, Go Figurative Show, Real Broadgate, Broadgate Circle, London
  • 2010, Go Figurative Show, Real Hampstead, St. Stephen’s, London
  • 2010, Untitled Art Fair, London
  • 2010, Arte Laguna Prize, Arsenale, Venice
  • 2009, Lloyd Gill Gallery Christmas Exhibition
  • 2009, Bentlif Gallery, Maidstone Museum & Art Gallery

About The Work

Source: Wikipedia

Anamorphic Sculpture

Hurwitz has produced a significant body of work using both oblique (perspective) and catoptric (mirror) anamorphosis. In an interview with Christopher Jobson, Hurwitz explains his anamorphic inspiration as follows: “I have always been torn between art and physics. In a moment of self-doubt in 2008, I wandered into the National Portrait Gallery and stumbled across a strange anamorphic piece by William Scrots (Portrait of Edward VI, 1546). Followed shortly down the aisle by The Ambassadors (Hans Holbein, 1533). My life changed forever. I rushed home and within hours was devouring the works of M. C. Escher, Da Vinci and many more. In a breath I had found “brothers” in a smallish group of artists spanning 500 years with exactly the same dilemma as me. Within two months I was deep in production of my first work. My art rests on the shoulders of giants, and I am grateful to them.”
Anamorphosis in painting has a long history. The first known anamorphic sketch of an eye was found in found Leonardo Da Vinci’s note book (folio 35 verso a of the Codex Atlanticus) c.1485. In the mid-18th Century anamorphosis was also used by Jacobite artists to secretly depict images of Bonnie Prince Charlie in the wake of brutal English censorship.  Hans Holbien in the 17th century brought anamorphosis into the mainstream with his masterpiece, The Ambassadors, which is held at the National Portrait Gallery in London.
Jonty’s pioneering concepts in art are recognized both in the academic world as a new genres, and are studied widely in academic curriculums.

In particular, Hurwitz is a pioneer in creating catoptric sculpture. Until the creation of his first work ‘Rejuvenation’, anamorphic sculptures are not known to have existed in art history. In his online talks Hurwitz explains that this is a function of processing power and that whilst it is possible to paint in a mirror, three-dimensional anamorphosis could only have come into being with the advent of powerful computers. Each of his sculptures involves billions of calculations using a series of algorithms derived from the irrational mathematical constant π.

Nano Sculpture

In late 2014 Jonty, broke ground in the art world for a second time, releasing a series of sculptures of his first love, made using Nano technology under the title of Trust. The “Nano Sculptures” went viral around the world were seen by an estimated 200 million people, partly through a documentary on Jonty produced by CNN International. This series of Nano sculptures captured the attentions of both the scientific and art community, being cited by journals such as Nature, Scientific American, Popular Science and  Jonty was also awarded two Guinness World Records for the works.

Jonty’s first Nano Sculptures were inspired by the nineteenth century marble sculpture of Cupid and Psyche by Antonio Canova, part of the permanent collection of the Louvre Museum, Paris.

The sculptures are so tiny that they are invisible to the human eye, able to be placed on the forehead of an ant. Smaller details of the works are at approximately the 300-nanometer scale, similar to the wavelengths of visible light and are therefore near impossible by the laws of physics to see in the visible spectrum. The only way to observe these works is through a non-optical method of magnification like a scanning electron microscope.

To create these works Hurwitz collaborated with a team of over 20 people, including Stephan Hengsbach of the Karlsruhe Institute of Technology and Yehiam Prior of the Weizmann Institute of Science, an art project centred in the world of academic quantum physics.

In an interview with Beautiful/Decay Hurwitz explains the philosophy behind the works: “As technology starts to evolve faster than our human perception is able to handle, the line between science and myth becomes blurred. We live in an era where the impossible has finally come to pass. In our own little way we have become demigods of creation in our physical world…. The Nano works that I present to you here represent more that just a feat of science though. They represent the moment in history that we ourselves are able to create a full human form at the same scale as the sperm that creates us in order to facilitate the creation.”