ANDREW BICK

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Installation view
von Bartha Garage
2012
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Installation view
von Bartha Garage
2012
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Installation view
von Bartha Garage
2012
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Installation view
von Bartha Garage
2012
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OGVDS 135% #1
2010/2011
98 x 82cm
Panel, marker pen on plexiglass
OGV [mirror-shift] 2-1
OGV [Mirror/Shift] (small version)
2010
left: panel, Oil paint, marker pen, water colour and wax on wood
right: panel, marker pen on plexiglass
each 76.8 x 63.5 cm
PastedGraphic-4
Drawing, from the series endless line
2005 -2011
Acrylic, glassine paper, pencil, marker pen
and watercolour on cut paper
45 x 55cm
PastedGraphic-3
Drawing, from the series endless line
2005 -2011
Acrylic, glassine paper, pencil, marker pen
and watercolour on cut paper
45 x 55cm
PastedGraphic-2-1
Drawing, from the series endless line
2005 -2011
Acrylic, glassine paper, pencil, marker pen
and watercolour on cut paper
45 x 55cm
PastedGraphic-1
Drawing, from the series endless line
2005 -2011
Acrylic, glassine paper, pencil, marker pen
and watercolour on cut paper
45 x 55cm
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OGV (double spider) d
2009/2010
Acrylic, pencil, oil paint, watercolour, wax on linen wood
76 x 64 x 3,5 cm
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Group Show
2010
Installation View
von Bartha Garage
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Variant (take away the memories)
2007
acrylic, pencil, oil paint, watercolour and wax on wood
112,5 x 92,5 cm
08.09.03.VB_BEAUDRY_BICK_172_001
Solo Show
2008
Installation View
von Bartha Garage
a.b.
Variant Dither don’t dither do dither
2005
acrylic, pencil, oil paint, watercolour and wax on wood
188, 5 x 122,5 cm
(* 1963 in Coleford, England) attended the Cheltenham College of Art (Foundation Studies) from 1980–81 and studied painting from 1982-86 at the University of Reading, Department of Fine Arts (BA Hons. Painting). In 1988 he finished his studies with an MA in painting at the Chelsea School of Art in London. His multi-layered wax paintings use various shapes in free and geometric abstraction. Numerous opposites such as drawing and painting, transparency and opaqueness, line and plane, colour and non-colour, glossy and matt surfaces come together in multi-faceted inscrutable whole. The layered wooden picture ground is often wrapped in plexiglass, so that the structure of the picture filters through reinforcing its sculptural and architectural composition.

Currently curating the exhibition “Construction & its Shadow” at Leeds Art Gallery, UK