Untitled (White)
Untitled (White)
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Andrew Hardy

Untitled (White)

Signed and dated (on the reverse)
Acrylic on linen
60 x 50 cm.
Painted in 2019


£850
Browns East | Future. Seduction. Icons (23/28)

Notes


Andrew Hardy's process is a form of performance. It is about the act of painting and he sees each painting as a recording of the journey he has been on with it. 

Andrew's two main concerns in this painting were repetition and the tension between chance and control. The question asked was ‘At what point does the painter surrender control to chance occurrences and how much does the painter then intervene if at all?’ The controls in this painting were the dimensions and materiality of the surface, the choice of paint, brush size, mediums and colour palette. Brush pressure and chance determined outcome with no subsequent intervention to make corrections. It takes a lot of practice to perfect the skills required. Many attempts were made and discarded in order to perfect the technique.

The artist says of this work, "I don’t feel a need to depict people or things or to be in any way referential whether literal, stylised, imagined or metaphorical. Equally my work has no message or identifiable meaning. It comes from the mind more than from observed reality and refers only to itself, to nothing but its own making."

Accolades:

Turps Studio Painting Programme, Turps Art School, London, 2019-21  
BA (Hons) Painting (1st Class), Camberwell College of Arts, UAL, London, 2016-19
Foundation Diploma Fine Art, The Art Academy, London, 2015-16

Selected Group Exhibitions: Degree Show - BA Painting Final Year, Camberwell College of Arts, London 2019. Interim Show - BA Painting Final Year, Copeland Gallery, London 2019. Camberwell Printmaking, Camberwell College of Arts, London 2018. Hard Ground, Pempeople Gallery, London 2018. Arthouse Open Studios, London 2018. Mixer - An Exhibition of Emerging Artists, Protein Studios, London 2017.

Andrew Hardy is also exhibiting Untitled (Black) as part of the same ongoing series of work.

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