Michael Amy: Your work is also about time.
Andre Woodward: My work is definitely time-based. There are about three different timelines going on in each piece. The tree grows. In the sound pieces, you need to consider the duration of the soundtrack, and in the pieces that incorporate lighting systems, you have that time going on as well. And then you have the time during which you are interacting with the work. I produce sculptural work because, with sculpture, there is you and the piece. There is not a flat divide—you and the piece occupy the same space. Once you realize that the sculpture is alive, something happens. You start to be sympathetic to the life-force. It isn’t merely an object. It’s a living thing. (29)
Amy, Michael. “A Living Thing Shouldn’t Be There: a Conversation with Andre Woodward.” Sculpture. Vol. 31, No. 4, May, 2012. pgs 26- 33.
Wonderful work! I am reminded of Chaco Canyon, New Mexico, where generations of archaeologists and anthropologists wondered where the wood had come from for the floor and roof framing of the pueblos. Then, a single, small Douglas Fir was found growing UPSIDE DOWN
Wonderful experiential work.
Excellent stuff…thanks Kevin, love your ouvre!
Thank you, fusionplus! You’re very kind. It’s always great to hear that people are appreciating what we’re doing on the blog. Thanks again. Best, Kevin.