62 x 22 cm | 22 x 8 in
Unique engraving on found wooden desk fragment.
in 2017 - Iain Andrews was selected as a prizewinner for the second year running for the Greater Manchester Art Prize and is currently part of the Contemporary British Painting show that is touring China this year: Contemporary Masters from Britain – Selected works from the Priseman Seabrook collection of 21st Century British Painting, will tour China for three shows in Autumn 2017 at The Yantai Art Museum, Jiangsu Arts and Crafts Museum and the Jiangsu Art Museum. The Yantai Art Museum has just acquired three of Andrews‘ drawings for their permanent collection (the museum is comparable to the size of The Tate).
Recipient of many accolades including 1st prize winner at Open up North, the Marmite Painting Prize and the Towry Prize, Andrews is widely sought after and highly collectable.
We live at a time where shifting cultural assumptions have shattered fixed notions of continuity and value. The essential truths that Postmodernism has denied – love, evil, death, the sacred, morality and soteriology have become absent from much contemporary art as they have from wider contemporary culture. Yet Postmodernism’s failure to offer consolations or answers to these enduringly relevant subjects means that as an artist, an awareness of modern developments must be balanced by a dialogue with established traditions and past narratives, and yet not become nostalgic. Terry Eagleton, and Peter Fuller have both argued for the importance of art to be able to tackle these big subjects. Whereas in the past, the artist or thinker had the shared symbolic order provided by religion within which to refer and ground their work, the artist today must find a way of surviving the bewildering plurality and subjectivity that has become the norm, if the truth of what they have to say is to maintain any force or credibility.