Andrew Myers, deconstructive portraits
Andrew Myers Show, Sept 17, Los Angeles, Cantor Fine Arts New Gallery
Acrylic Cubes (above)
1200 hand painted 1 inch acrylic cubes
800 yards of stainless steel rods
Wood hanging rods
White metal frame
We Don’t Belong in the Shadows (above)
In this deconstructive series, Andrew uses screws, oil paint, and phone book pages to depict portraits that emphasize the interplay and contrast between light and shadow. Despite being ethereal in nature, Andrew is fascinated by the power of shadows to create the appearance of form. At first glance, it may not be clear if the “shadows” in these pieces are created from paint or actual shadows cast by the screws. Only close inspection reveals which is which.
Andrew Myers is an artist residing in Laguna Beach, California, where he has lived since attending Laguna college of Art and Design.
Distinct. Expressive. Tactile.
These are perhaps the three most fitting words to describe Andrew’s unique brand of contemporary artwork. But linguistic descriptions fail to adequately capture the progressive mixed media works he creates with screws, oil paint, charcoal, bronze, cement, and found objects. To truly experience Andrew’s art, it must be seen and even touched.
One of the artist’s favorite memories was watching a blind man experience his work for the first time. As the man ran his hands over a large three-dimensional portrait tediously constructed with tens of thousands of screws over hundreds of man hours, his blank expression suddenly transformed into a warm smile. He could feel what others could only see.
Screw by Screw
Though Andrew is best known for his time-intensive screw pieces, his work spans multiple genres and mediums, including sculpting, painting, and drawing. He most enjoys fast, expressive pieces like charcoal sketches, yet at the same time, feels that true art requires struggle, energy, time, and sacrifice; elements his screw pieces provide in spades. Given their complexity, unique subject matter, and unusual materials, Andrew produces only five to ten pieces a year, each of which is an experiment in art, mathematics, and creative problem solving. His workflow fluctuates between careful, conscious planning with his assistants, and countless hours spent in a dreamlike flow state where hours pass by as if in a moment.