My work metaphorically explores the fundamental ways that humans experience reality through patterns: patterns of energy, patterns of light, patterns of form. Patterns take on tremendous significance- culturally through the use of symbols that denote advanced concepts, materially through the application of pattern awareness (as in architecture), and personally/emotionally through the perception of patterns of life and within one's own life. My current bodies of work explore these concepts in visually arresting forms that grab the viewer and immerses them in larger-than-life creations in which they can experience the figurative simplicity that forms the seeming complexity of life.
I am most active in my 'Earthscape Painting' line of inquiry in which I rake out designs up to 100’ across on beaches around California. I head to one of several nearby beaches when the conditions are right, when the beach offers me as large a canvas as possible. This means I can only work on beaches with large, shallow slopes and only when there is the greatest difference between high and low tide. A further consideration is to finish a piece before sundown. This means I have several opportunities a month to work on the beach, opportunities to not only work on my art, but to also appreciate the natural beauty of the locations in which I work. But chaos is an essential aspect of the process, the beach is never the same between visits- even seasonally the beach changes form, allowing me to literally see the larger world patterns to which my designs allude. And lately my earthscape art has been moving more towards incorporating the chaotic, the organic, modeling the natural world more closely.
As the tide returns and the design dissolves, the beach returning to its unmarked state, I am given the opportunity to contemplate impermanence, to recognize that all things no matter how great or how large will pass. This awareness of the impending erasure of the art has the impact of stopping everyone who comes across its path. There is no chance to postpone viewing the work, it must be appreciated now in this moment outside of time in which the focus is on the experience.
Andres Amador
10/2010
I am most active in my 'Earthscape Painting' line of inquiry in which I rake out designs up to 100’ across on beaches around California. I head to one of several nearby beaches when the conditions are right, when the beach offers me as large a canvas as possible. This means I can only work on beaches with large, shallow slopes and only when there is the greatest difference between high and low tide. A further consideration is to finish a piece before sundown. This means I have several opportunities a month to work on the beach, opportunities to not only work on my art, but to also appreciate the natural beauty of the locations in which I work. But chaos is an essential aspect of the process, the beach is never the same between visits- even seasonally the beach changes form, allowing me to literally see the larger world patterns to which my designs allude. And lately my earthscape art has been moving more towards incorporating the chaotic, the organic, modeling the natural world more closely.
As the tide returns and the design dissolves, the beach returning to its unmarked state, I am given the opportunity to contemplate impermanence, to recognize that all things no matter how great or how large will pass. This awareness of the impending erasure of the art has the impact of stopping everyone who comes across its path. There is no chance to postpone viewing the work, it must be appreciated now in this moment outside of time in which the focus is on the experience.
Andres Amador
10/2010
