Rebecca Andrew

Master of Fine Art

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About me

I am a contemporary painter, exploring overlaps and combined approaches in lyrical mark – making and printmaking processes.

My work is abstract, allowing for expression and interpretive freedom. Working in an organic way, gives freedom to my process and authenticity to my expressions in the development of my visual language for both sound and emotion, embracing a fluidity between both the sensory modalities, and art forms.

I explore the cross sensory experience of visual and auditory perception, extracting the emotional content of music through gestural and emotional responses to the rhythm, pitch and flow of interweaving harmonies.

My work has featured in a number of online and physical magazines and exhibitions, including a six page feature and interview in “Art Reveal”.

I am currently working as a published Art Critic in collaboration with London – based Arts Collective “Art Love”, in conjunction with developing my own creative practice.

Music not only stirs up emotion but influences biological rhythms. Heart beats, breathing, gestural movements. These “bodily patterns” are not only the basis for human emotion, they are crucial components of my creative process. I reflect them in paint. I believe that music and visual art are inextricably linked in a primal relationship that encompasses ritual, spirituality and emotion. My role is as a conduit, channeling together these different elements. This primitive, ritualistic, physical exploration invites you to immerse yourself in the the paintings and work your way through the intermingled emotions they arouse.

BURN. Acrylic, Oil, Ink and Acrylic Paint Marker on Plywood, 122 x 109 cm. Energetic colours and translucent layers that signify creation and rebirth

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In the Flesh. Ink, Acrylic and Oil on Sterling Board, 107 x 109.7 cm. Rumbling beats are printed between layers, anchoring the diverse elements of the composition.

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From the Ashes. Oil and Acrylic on Plywood, 122 x 109cm. Warm, translucent, layers of tone, dance on energetic fingertips.

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I Can’t Remember Your Hands, Part 2. Acrylic and Ink on Sterling Board, 95.5 x101cm. Painted in reaction to Neurosis “I Can See You” (2004), this painting examines themes of emptiness, grief and questioning faith.

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Aeon. Ink and Acrylic on Plywood, 96.7 x 88.8cm. A layered, raw composition of tribal beats and rough textures.

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Thirds (Triptych). Oil and Acrylic over three separate cuts of sterling board, 221.5 x 120 cm. An epic and triumphant composition of contrasting tones.

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Century. Acrylic, Oil, Ink on Plywood, 122 x 90cm. This gestural piece was created in immediate response to The Cure’s “One Hundred Years” (1982), a haunting yet energetic piece with an industrial edge of despair.

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Keys. Acrylic and Oil on Plywood, 122 x 122 cm. Pulses and sonorous tones radiate light.

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The Absence of Light. Ink, Oil and Acrylic on Plywood, 154 x 138 cm. Circular movements naturally occur throughout my work. Circles have a powerful energy in terms of movement and spiritual and symbolic connotations.

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I Can't Remember Your Hands, Part 1. Oil, Ink and Acrylic on Sterling Board, 121 x 96 cm. An exploration of the presence of absence.

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Keywords: Abstract, Painting, Synesthesia, Autoresposive, Gestural, Music, Lyrical, Emotive, Emotions, Cross sensory