Andrew Holder (°1980, LA, United States) makes sculptures, installations and conceptual artworks. By studying sign processes, signification and communication, Holder tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
His sculptures are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. By investigating language on a meta-level, he makes works that can be seen as self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem typical by-products of American superabundance and marketing.
His works are a drawn reflection upon the art of sculpture itself: thoroughly self-referential, yet no less aesthetically pleasing, and therefore deeply inscribed in the history of modernism – made present most palpably in the artist’s exploration of some of the most hallowed of modernist paradigms. Through a radically singular approach that is nevertheless inscribed in the contemporary debate, he tries to grasp language. Transformed into art, language becomes an ornament. At that moment, lots of ambiguities and indistinctnesses, which are inherent to the phenomenon, come to the surface.
His works question the conditions of appearance of an image in the context of contemporary visual culture in which images, representations and ideas normally function. By choosing mainly formal solutions, he makes work that generates diverse meanings. Associations and meanings collide. Space becomes time and language becomes image.
His works focus on the inability of communication which is used to visualise reality, the attempt of dialogue, the dissonance between form and content and the dysfunctions of language. In short, the lack of clear references are key elements in the work. By parodying mass media by exaggerating certain formal aspects inherent to our contemporary society, he uses references and ideas that are so integrated into the process of the composition of the work that they may escape those who do not take the time to explore how and why these images haunt you, like a good film, long after you’ve seen them.
His works are saturated with obviousness, mental inertia, clichés and bad jokes. They question the coerciveness that is derived from the more profound meaning and the superficial aesthetic appearance of an image. Andrew Holder currently lives and works in Cambridge.
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