Hany Armanious guides us through a landscape of process and form, mining its interior. The nature of reality exhumed there does not always reassure the big brain-like organ that we pick through in search of ideas. The inside is a mess of abstraction. Everything, upon close inspection, in that transition between scales, is a scene of menace or tender beauty to digest. We are cast between nourishment and waste. Laptop, bubble jet, electricity etc. (the hard-won trophies of home office design) let us cure the difference between figuration, façade and their others. Calculate and communicate the modular membranes, the material epiphanies that enfold us toward an understanding of the outward principles of good design and the inner workings of nature.
In October 2006, the Institute of Modern Art in Brisbane is presenting a major exhibition of Hany Armanious' work (curated by Robert Leonard). It will be the first historical survey. The exhibition will tour to City Gallery Wellington in in 2007. A substantial catalogue is being produced to accompany the exhibition. Also in 2006, Armanious has been included in the Busan Biennale in , an international group exhibition Uncanny Nature at ACCA in Melbourne and Adventures with form in space, the Balnaves Foundation Sculpture Project, at the Art Gallery of New South Wales. In 2001 Armanious had a solo exhibition at the UCLA Hammer Museum in Los Angeles. He won the Moet and Chandon Fellowship in 1998 with a sculptural group that consisted of a series of upturned wine glasses and coloured hotmelt casts and was shortlisted for Contempora 5 in 1997. Armanious exhibited in the 1995 Johannesburg Biennale (curated by Kendall Geers), the 1992 Biennale of Sydney (curated by Tony Bond). In 1993 he was selected for the prestigious Aperto section of the Venice Biennale (curated by Achille Bonito Oliva). Intelligent Design is Hany Armanious' third solo exhibition with Roslyn Oxley9 Gallery.