Andrew Krieger

Andrew Krieger
351 Mcmillan Grosse Pointe Farms, Mi. 48236
248-219-7966 / andrewkrieger@earthlink.net
www.andrewkrieger.net
http://akrieger@blogspot.com
A Painter's History of the World: Part 1

CurriculumVitae

EXHIBITIONS

2011 Andrew Krieger, solo show @ Paint Creek Center For The Arts - April 2011
Andrew Krieger, Clinton Snider, Michael McGillis @ Center Galleries - Sept. 2011

2010 Andrew Krieger New Works and Some Old, solo exhibition @ Popps Packing
Nocturnal Translations, group show @ Public Pool
This Week In Art, Motor City Brewing Works
Art In Three Dimensions, group show @ Mosaic Gallery

2009 Andy-Licous Matthew Sandwich, group show @ Cass Cafe
Landscape A Modern Sequel, group show @ Detroit Artists Market
Small Show, Detroit Artists Market
Andrew Krieger, Taurus Burns, Matt Lewis @ Center Street Gallery, Saginaw Mi.
Detroit Artists Market Garden Party and Sale
Weasel Camp, Anton Art Center

2008 Visions Of Memories - Andrew Krieger , solo exhibition @ Bohemian National Home Gallery
This Week In Art, Motor City Brewing Works

2001 Heat, group show @ Grey Gallery

1997 Honor The Earth Biennial, Alley Culture

1993 Collections, Dearborn City Hall Gallery
Honor The Earth Biennial, Willis Gallery

1992 Andrew Krieger, Willis Gallery

BIBLIOGRAPHY

2010 Podolsky, Erin "One Dreams, Another Creates", Detroit Free Press, May 13, 2010

2010 Del Valle, Robert "Detroit Brothers Explore Emotion and Meaning in Erotic Artwork", Detroit Free Press, Feb. 11, 2010

2009 Hodges, Michael "Cass Cafe to Host Reception for Three Michigan Artists", Detroit News, Dec. 11, 2009

2009 Miller, Woody "Andy-licious Matthew Sandwich", thedetroiter.com, Dec. 9, 2009

2009 Hodges, Michael "Examining the Real and the Ethereal/ Exhibits of the Unseen, Landscapes", Detroit News, Sept. 17, 2009

2008 Bieri, Sean "A Maker Of Things and An Artist For Real" Metro Times, 9-10-2008


I am interested in things I cannot do, through fear, inability or living in the wrong time and place. My artwork reflects this interest, it is my way of accomplishing what normally I could not.

I construct my pieces from my experience as a carpenter, I paint them and carve them to help alter my senses and perception, setting up scenarios so I can feel part of the work. So I can step inside and participate in things that I can't do in the real world. Part of this process involves using traditional artistic tools (perspective, 3 dimensionality) and content (landscape, figurative work) that I employ to try and trick my senses and make an emotional impact so that other people can then bring in their own memories and feelings into the work. All of my work has some kind of potential audience interaction, and while I take great care in arranging my compositions, all of the work has movable elements that can be rearranged to someone else's liking. This sense of play and connectedness to my work is very important to me and the success of the piece.

I view landscape as a tool and as the most important first step in any piece I make. I try to come up with a landscape that can inspire or set a very specific mood, and then apply a human drama over it. Because people are temporary and the world is not, I have started taking people out of the two dimensional plane of the painting surface and incorporating them in the space out in front of the piece. This does two things in my mind. It leaves the basic actual work, a landscape unpolluted by human activity; and it animates the figures, bringing them to life. This also suggests that perhaps soon the actors in my play will have moved out of the landscape, to be replaced by others in that same setting.

The landscape itself is not painted or drawn on a flat surface. Our world is not flat, our field of vision is not flat. Our eyes are round, our visual experience is in fact seen through a curved viewpoint. The pieces invite exploration. As you move about, you can experience what I call "passive kinetic". The piece is passive , it does not move, but as the viewer moves, the curved surface causes the image on it to distort slightly, giving it an energy or an effect of breathing. Humanity and the landscape we occupy are my inspiration; we are baffling and destructive, yet on a small scale we are tender and deserving of mercy.

What emerges in this work is a feeling of a story and story line that can be affected by someone's perception. This sense of narrative is prevalent in all my pieces and is one of the things I am most excited about exploring in future work.