Andrew Foster

Andrew Foster

Andrew Foster

Through the manipulation of light, surface, near-defunct-technologies, found objects and traditional painting materials, Foster’s process based works hover within a twilight, at the edge of a near hectic haze.

slow set sun rise

2019-ongoing Plexi glass, acrylic, dichroic film, motor with gearbox, Nano tape, dust, tripod, zip ties, Velcro, tactical LED flashlight, LED bike headlamp, rechargeable lithium-ion batteries and wall Dimensions Variable

Andrew Foster, slow set sun rise (stills), 2019-ongoing

Swimming in and out of focus, a notion of articulation is approached yet never achieved. Andrew Foster's recent works absurdly set out to imagine a reconciliation- one where the slick, sterile nature of contemporary objects and conditions might offer a soft retreat.

(Monochrome in two colors, or: how to turn on a painting)

2020 Urethane, metallic pigments, pine, tacks, electroluminescent paper, rechargeable lithium-ion batteries 55.88 x 35.56 cm / 22 x 14 in (approximately)

Up n’ Upper

2020 Stain painted canvas tote bags, 18 incense diffusers with LED lights set to pulse, extension cords, surge protectors, hooks, eucalyptus essential oils and Essentia brand ionized alkaline 9.5ph bottled water, a dark room with a pink haze 187.96 x 304.8 x 167.64 cm / 74 x 120 x 66 in (approximately)

Andrew Foster in conversation with Joachim Pissarro

Joachim Pissarro: Is this one installation or several pieces?

Andrew Foster: Lately, I think of the work as being modular or dynamic—like a constellation in flux. Each element infects the next, regularly shifting and in search of a stable form or internal logic. It gets close at times, but part of me feels like the work just wants to be at the edge of collapse, to cascade, and I’m just futzing about trying to maintain it while recharging its batteries.

Joachim Pissarro: This one looks like a lazy Susan type of thing.

Andrew Foster: These spinning things are made of little worm gear motors running on nine-volt rechargeable batteries, scrap pieces of plexi and this fancy dichroic film I initially found at Canal Plastics. I bought this rubbery, gunky tape stuff called Nano Tape from an Instagram ad and use it a lot in these works. Buying algorithmically suggested stuff has become common to my recent working manner. Most of the work is taped or zip-tied together- sometimes tacked- rarely I’ll use a screw or clamp. Everything feels like gravity alone could pull it all apart, all the while these things struggle to just keep going.

Joachim Pissarro: And what is this, Andrew?

Andrew Foster: This painting turns on. It has an invisible button, behind or inside the surface, kinda like a smartphone’s touchscreen.

Joachim Pissarro: So it's a painting, though, it's not an object, you call it a painting?

Andrew Foster: Yeah, hmmm, I guess I did say that. It's on the wall, has tacks on the side and a paint-like skin stretched over wood. I think this one might be a painting thing- it’s in the image of a painting. Jannis Kounellis considered himself a painter and constructor of images his whole life- I feel similar, but clear categorization doesn't feel so important either.

Hunter MFA

The annual Spring 2020 Thesis Exhibition for graduates of the Hunter College MFA Studio Art program represents works by 19 artist graduates of this nationally noted program. Originally planned as a series of physical presentations at Hunter’s 205 Hudson Street campus in Tribeca, but canceled due to the COVID-19 pandemic, the MFA Thesis Exhibition’s digital iteration aims to provide a new, expanded platform for young artists entering the field.