Entries in Andy Robert (5)
Andy Robert has a public art installation on view now until January 31st at Full Haus in Los Angeles.
For Heavy Rain and Lightning, Andy Robert will turn Full Haus’s backyard into a sculpture park.
Robert’s sculptural work evokes places. This happens through found materials, words, as well as a sensitivity to the way a place can evoke another place. Through the overlapping of space and histories, Robert reflects on how people live in different locations. Some of these reflections, as in a discarded umbrella, focus on the quotidian. Others, skittles on concrete, refer to specific events that have unmistakable political dimensions.
In either case, Robert’s sculptures are poetic—at times lyrical, and at times concrete. It’s more like what Magritte did for the hat.
Heavy Rain and Lightning is Robert's first public art installation in Los Angeles.
What happens to a dream deferred?
Does it dry up
like a raisin in the sun?
Or fester like a sore—
And then run?
Does it stink like rotten meat?
Or crust and sugar over—
like a syrupy sweet?
Maybe it just sags
like a heavy load.
Or does it explode?
—Langston Hughes, Harlem, 1951
Andy Robert works across boundaries, varied source material and found objects to address fragments as states of being. Robert is interested in what happens to things when they come into proximity and/or collide. He sees art as a viable tool, a mode and form of criticism and critical reflection. He is currently in the Whiteny ISP program in New York City.
“Conceptually, I’m interested in narrative structures, chance, and notions of gaming as system; particularly for the ability to influence, alter, and frame perceptions --ways of viewing, experiencing and engaging with art and the world. Drawing from the Constructivists’ notion of gestalt --to alter and shift the perception of space through the use of everyday materials in art, and postmodern sensibilities; my practice, multi-disciplinary and predominately research based, incorporating both text and image, and invested in arts’ critical capacity. Acknowledging the body as a point, not alone or at center but social --of many points orbiting, pushing and pulling, conversing and relaying, I seek to question our boundaries, our space/time and our humanity as either a common, mutable and/or a fabrication.
And in working in the assemblage tradition and critically with archives, its’ interesting what happens to things when they come in to proximity and/or collide.”