Lot 102 - Iain Andrews - Study For Ashputtle II
Acrylic on paper
Signed on Verso
This auction is raising proceeds for War Child UK
I currently work as an artist in residence and Art Psychotherapist at Trinity High School in Manchester.
1993-98 - MA Painting - University of Wales, Aberystwyth
1998-2000 - PG dip Art Th. Sheffield University
2022 - Teraphim (with Carlos Zapata) - James Freeman Gallery, London
2020 - New Paintings - Gallery 339, Cao Chang di, Beijing.
2018 - Iain Andrews - House of the Nobleman, London
2015 - Changeling - York College Gallery, York
2014 - Re:view - Iain Andrews, Castlefield Gallery, Manchester
2013 - Il teatro dei leviatano - Man and Eve, London,
- The Language of Paint (with Richard Kenton Webb), Atkinson Gallery, Somerset
2012 - Mythopoeia, Warrington Museum and Art Gallery, Warrington
2022 - 'Carnivals of Clouds - Janet Rady Fine Art, London, Manchester Open - HOME, Manchester, 'Sunny Art Prize' - Sunny Arts Centre, London, 'Paradoxes' - Quay Arts Centre, Isle of Wight, 'A Generous Space II' - Walsall Art Gallery, Walsall, 'A Modest Show - Fayre Share Fayre' - Whitworth Art Gallery, Manchester, 'Vitalistic Fantasies' - Elysium Gallery, Swansea, 'Paper After All' - Royal Cambrian Academy, Conwy, Paper Gallery, Manchester and touring,
James Freeman Gallery, London
Saul Hay Gallery, Manchester
Statement about AOAP Submitted Artwork
‘It is not possible to be original except on a basis of tradition’ D.W.Winnicott
My paintings begin as a dialogue, both with a particular Folk Tale and also with an image from art history – often a painting by an Old Master that may then be used as a starting point from which to playfully but reverently deviate. Making paintings is the way I make sense of the narratives and stories that I encounter during my work as an Art Psychotherapist with teenagers, many of whom have tales of neglect and abuse. These stories have very little trouble attaching themselves to the narratives and imagery of Folk Tales and Faery Stories, since the themes of the two; loss and abandonment, the violence of parental figures, oral greed, transformation and renewal, naturally merge into each other, with the structure of the traditional story functioning as kind of frame or reference point. Within this framework, the starting image becomes a kind of armature, rather like an actor on stage upon which the narrative of the story is hung. I am interested in how stories are retold and re-imagined, and how the retelling alters and embellishes the original even as it seeks to render it vital and alive once again for a new audience.
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