Simon ANDREWNext Artist

I am currently painting within the tradition of romantic realism. Putting me somewhat at odds with the prevailing main stream. Works range from wide-angle landscapes with vast cloudbanks and ambiguous perspectives to the more intimate, such as a strange building or a few everyday objects.
When painting, I concern myself with colour relationships, compositional structures and the physicality of the paint. I consider the subject matter the framework on which I ‘hang’ the paint. My work is as much about the medium as the message. Colour is applied in an almost casual manner, other times slabbed on or carefully blended creating a diverse range of marks. Paint is treated as a physical material, like lead or water. It is a substance that is meaningful on its own, not merely a tool to create a
desired composition.
I try to make my paintings work not just on the macro level but also on the micro. I would like them to contain arresting and varied passages of colour in addition to an integrated composition. I hope my work does not reveal all it has to say straight away and works on the observer at different levels over time, so that one day they might be aware of a colour relationships, the next a compositional quirk, the mood of the work and so on. Ideally they should grow with the observer in an unpredictable way.
At another level, my practice is inescapably shaped by contemporary issues, such as cultural displacement, memory formation and geographical location. One might observe, that when returning home from a foreign land, for the first few days one sees it more objectively, until we are caught up in it’s daily culture again. When moving from one county to another interesting things can happen. There is interplay between where you are and where your head is, so to speak. Superfluous information is filtered out, you experience the once familiar in new ways. My paintings succumb to a distilling process, shaped by these factors. Supported by expressive and varied handling, they are often charged with a remembrance of an event or a place that in retrospect seems more relevant. In effect they are a visual
conversation with time and place, but after the fact, in an attempt to find a space in which they can simply exist as new and valid experiences.imposes. My default mechanism of connection is memory. Whether recalled through rose tinted glasses, or through a haunted eye, there is the ‘making real’
of a distilling process that has succumbed to time and distance. Supported by expressive and varied handling, these paintings are often charged with a
yearning quality. A remembrance of an event or a place that in retrospect seems more relevant.
My work is in effect a disjointed conversation with time and place, but after the fact, in an attempt to find a space in which it can simply exist.

 Here is a copy of the Catalogue of Simon's show:
http://www.simonandrew.com/Wallace%20Gallery%20Catalogue%20download.pdf

Simon Andrew was born in Portsmouth and spent his formative years in Penwith, Cornwall, studied science at Queen's University, Canada and Fine Art at Newcastle University where he received his MFA. While at Newcastle he was the beneficiary of The Lawrence Atwell Scholarship Award from Skinners' Hall, London. U.K.

Simon Andrew was awarded first prize (Northern Region) for his work in the Laing National Landscape Competition, London. His work was also selected for the Hunting Group Contemporary Art Competition.

Simon Andrew's work is represented in major corporate collections, including Glaxo Wellcome, Hewlett Packard, OMERS, McKinsey and Company, Canadian Business Development Bank, Fidelity Investments and Her Majesty the Queen in Right. He has attended residencies in both Canada and abroad and was the recipient of a full fellowship award from The Vermont Studio Center, USA. Recently, Simon Andrew won first prize for his work in Exposures, an exhibition which was judged by curators from contemporary public art galleries in Canada. He has had numerous solo shows in Canada and abroad.

Simon Andrew works in Canada and England.

SELECTED SOLO SHOWS 

2013     Studio 21, Halifax, Canada 
2012    

  • Wallace Galleries ltd, Calgary, Canada, 
  • The Mira Godard Gallery, Toronto, Canada

2011      Great Atlantic Art Galleries, Cornwall, U.K.

2010  The Seascape Gallery, Godalming, U.K.

2008  

  • Goldie Gallery, Greene Ave., Montreal, PQ
  • The Art Gallery of Windsor, Windsor, ON

2001  The Edward Day Gallery, Kingston, ON

2000  Nancy Poole Gallery, Toronto, ON

1999  

  • The Edward Day Gallery, Kingston, ON
  • Nancy Poole Gallery, Toronto, ON
  • The Danielson Gallery, Toronto, ON

1998  

  • The Edward Day Gallery, Kingston, ON
  • The K.A.A.I., Kingston, ON

1995 

  •  The Edward Day Gallery, Kingston, ON
  • The James Baird Gallery, Saint Johns, NF
  • The Art Gallery of Windsor, Windsor, ON

1994  

  • Agnes Etherington Art Centre, Kingston. ON
  • Nancy Poole Gallery, Toronto, ON

1992  Nancy Poole Gallery, Toronto, ON

1990  

  • The Dryden Street Gallery, London, U.K
  • The Bedford Hill Gallery, London, U.K.
  • Oxford University, U.K.

1988  The Long Gallery, Newcastle, U.K.

GROUP SHOWS

2012    

  • Toronto International Art Fair, Toronto, Canada.
  • “Self Portrait”The Mira Godard Gallery, Toronto, Canada.
  • The Belgrave Gallery, St Ives, U.K.
  • Preview 2012 Mira Godard Gallery, Toronto, ON.

2011    

  • The Toronto International Art Fair, Toronto. ON.
  • Eton College, Windsor, U.K
  • “Interiors” Mira Godard Gallery, Toronto, ON
  • Wallace Galleries ltd, Calgary, Alberta.

2010 

  • December Show, Mira Godard Gallery, Toronto,ON
  • Simon Andrew and Mungo Powney, Badcocks Gallery, Newlyn, Cornwall, U.K.
  • The Wallace Galleries ltd, Calgary, Alberta,

2009 

  • Six Printmakers, The National Association of Cuban Writers and Artists Centre, Ceinfuegos, Havana, Cuba

2008  

  • Exposures- Agnes Etherington Art Centre, Kingston, ON
  • 3 Artists-Galerie St-Laurent + Hill, 333 Cumberland Street, Ottawa, ON
  • Joan Ferneyhough Gallery, North Bay, ON
  • The Edward Day Gallery, Toronto, ON
  • Robert Macklin Gallery, Kingston, ON

2006 

  • Galerie St-Laurent + Hill, 333 Cumberland Street, Ottawa, ON
  • Beckett Gallery. Scollard Street, Toronto, ON
  • “Waxworks” Goldie Gallery, Greene Ave., Montreal, PQ

2005   

  • Art Project Gallery. Exchange Tower., Toronto, ON
    “Metal on Metal” (two Person show) Lonsdale Gallery., Toronto, ON
    Lipman Gallery, Queen Street, Toronto, ON

2004  Loch Gallery. Hazelton Ave., Toronto, ON

2003 

  • Agnes Etherington Art Centre, Kingston, ON
  • M.F.A.R.C., Kingston, ON

2002  Vancouver Access Artist Run Centre, Vancouver, B.C.

2001  

  • Bishop Phillpot Gallery, Cornwall, U.K.
  • The K.A.A.I., Kingston, ON

2000  

  • John B. Aird Gallery , Toronto, ON
  • Badcocks Gallery, Cornwall, U.K.
  • Micheal Gibson Gallery, London, ON

1999  

  • The Hamilton Art Gallery, Hamilton, ON
  • The Art Gallery of Windsor, Windsor, ON
  • Agnes Etherington Art Centre, Kingston, ON

1996  The Edward Day Gallery, Kingston, ON

1995

  • The Art Gallery of Windsor, Windsor, ON
  • The Edward Day Gallery, Kingston, ON
  • The Hamilton Art Gallery, Hamilton, ON
  • Agnes Etherington Art Centre, Kingston, ON

1994  

  • The Edward Day Gallery, Kingston, ON
  • The K.A.A.I., Kingston, ON
  • The Art Gallery of Windsor, Windsor, ON
  • The Hamilton Art Gallery, Hamilton, ON
  • Agnes Etherington Art Centre, Kingston, ON

1993  The Edward Day Gallery, Kingston, ON

1991  

  • Agnes Etherington Art Centre, Kingston, ON
  • Penwith Gallery, Saint Ives, Cornwall, U.K.

1990  National Hunting Inc. Competition. Mall Galleries, London, U.K.
1989  

  • The Polytechnic Gallery, Newcastle, U.K.
  • Laing National Landscape Show. The Mall, London, U.K.

1988  

  • Edinburgh College of Art and Newcastle University, U.K
  • Riverside Gallery, Newcastle, U.K.

1987  Newcastle & The Slade School of Art, London University, U.K.
1986  Newlyn Gallery, Cornwall, U.K.


EDUCATION:

1987 - Newcastle University .U.K. B.A. (Hons.) Fine Art.
1987 - 1989 - M.F.A. - Newcastle University, U.K.

RESIDENCIES:

The Vermont Studio Center, Johnson, Vermont, USA
The Pouch Cove Foundation, St. John's, NF

GRANTS & AWARDS:

The Lawrence Atwell Award, for painting, London, U.K.
The Laing National Landscape Competition, First Prize - Northern Region, London, U.K.
K.A.A.I. juried show. Best Painting, Kingston, ON
Ontario Arts Council
Ontario Arts Council Exhibition Assistance Grant
Vermont Studio Center - Full Fellowship Award
Stevenson’s Paints Painting Award,TOAE.
Exposures- Agnes Etherington Art Centre, Kingston, ON. First Prize.

COLLECTIONS:

The Ontario Municipal Employees Retirement Service
Glaxo Wellcome
Hewlett Packard
Redpath Sugar
HDvision
McKinsey & Co.
The Moving Picture Ball, Hollywood, California, USA.
Borden Elliot
Legacy’s Corporation
Canadian Business Development Bank
Mel Gibson, worked with Mel Gibson producing paintings for the film 'The Man without a Face'
Windsor Casinos Ltd.
Fidelity Investments
Stantive Solutions
Sun Micro Systems
Tragically Hip ‘Day for Night’ CD cover
Her Majesty The Queen in Right
Alberta Securities Commission
The City of Ottawa, Ontario, Canada.

BIBLIOGRAPHY selected:

Simon Andrew- “A Visual Conversation” Art of England magazine –November 2010
“Double delight as duo exhibit at gallery”The Cornishman – August 19th. 2010
Sarah Pitt “Paintings exude a strong sense of place” The Western Morning News – August 20th 2010
Greg Burliuk, “Bunch of Fans” Queen’s Journal
“Artist’s work reaches a Hip” Whig Standard - September 24th. 1994
Mary Steer, “Artist’s work decorates Hip album” Kingston this Week - September 17th, 1994
Mary Steer, “Artist made famous through movie” Kingston this Week - July 20th, 1994
Mary Jo Hughes, “Simon Andrew: Witness” Currents, volume 10 - number 3 - May to June, 1994
Julie Turbide, “Out of the blue” Maclean’s Magazine - August 9th, 1993
David Barber, “Artist’s works ‘star’ in Mel Gibson Movie” Whig Standard Standard August 27th, 1993
“Brush with an Artist’ The Journal U.K. - April 1989
“Shades of Success” The Journal U.K. - April 1989