Andrew Long

Andrew

Long

A Thousand Years

2020, Acrylic on Baltic birch, 48 x 48 in

$
0

Andrew

Long

Self Portrait For Change

2020, Acrylic on Baltic birch, 60 x 60 in

$
0

Andrew

Long

Ok, The TIme Is Now

2020, Acrylic on Baltic Birch, 48 x 48 in

$
0

Andrew

Long

Oceans Up

2020, Acrylic on canvas, 20 x 16 in

$
0

Andrew

Long

Over There Is Where

2020, Acrylic on canvas, 20 x 16 in

$
0

Andrew

Long

From Upon This Ground We View Everything

2020, Pigment on paper, 18 x 12 in

$
0
No items found.
No items found.
Andrew Long

About the Artist

Andrew Long has exhibited widely, including commissioned projects from Institute of Contemporary Art (London), Museum of Fine Arts (Houston), and is the recipient of numerous awards and grants including Byrdcliffe Colony/Pollack-Krasner Fellowship and Millay Art Colony Fellow.

Multiple solo exhibitions include McMurtrey Gallery (Houston), Conduit Gallery (Dallas), Plus Gallery (Denver), Dougherty Art Center (Austin), and Texas State University (San Marcos.)

His work was included in Austin Museum of Art's triennial 20 to Watch w/tour Blue Star Arts Complex (San Antonio), Grace Museum (Abilene), Diverse Works (Houston). Long was also included in Texas Paint: Out of Abstraction at Arlington Museum, Kim Foster Gallery (New York), David Lusk Gallery (Memphis), and featured in New American Painting, Editions 42, 72, 84.

From 1990-2005, Long was artistic director of Johnson/Long Dance Company, which included multiple U.S. commissions, tours and residencies. As an art critic he has written for Glasstire, Artlies, and Austin Chronicle.

Artist Statement

For years I have worked in several mediums simultaneously. Each has informed the other. Specifically as it relates to painting, I have been investigating how color, form, and the geography of space can be both an attraction and deterrent.

Paint is layered up, removed, and then covered up again. Sometimes a razor blade, belt sander, or dremel is used. Raw pigment, binder, silt, random colors, are applied with dried up brushes, putty knife, stick. The physicality and process plays an important role.

I am interested in the process of undoing - making paintings that border on being seemingly unresolved. Perhaps if one looked long enough, the painting would shift slightly, fall apart or tighten up. I like awkward and clumsy, as it provides multiple fulcrums and visual pathways to contemplate the whole and details simultaneously, much like our thought patterns.

As I make the works, there are stages of curiosity, flippancy, deliberateness, reverence, preciousness, attachment, surprise, willingness, boredom, realization, chaos, forgetfulness, impetuousness, and all other variations.

It could all be meaningless, disparate, or inexplicable.

At some point there is a declaration of doneness. Albeit for just a moment, or longer, as all things are impermanent, so no use trying to control that.