Recent Projects +++
By documenting growth and transition within the properties of different materials and their inherent state transitions, I am interested in creating installations, performances and documents that refer to duration1 – the “life” or the ephemeral quality of objects in their multiple relations to other entities. Through an incorporation of dynamic material and actants, I attempt to engage a dialogue between the performativity of “things”, while setting up a framework for experimenting with concepts related to cyclical processes, repetition and overlap, becomings and transient documents. Recent sculptural installations such as the Automata's for Colour (I-III, 2010-2014), the The Temporary Archive for Ambiguous Architecture (2012-2013) are continuously changing form and are purposely unstable; flows and leakages; growth and decomposition; the materials and the structures are in perpetual conversation. The physical transitions within the work are captured through various time-based mechanisms such as photographic time-lapse, ink residues, or evidence of biological growth that record traces or effects of one material actant onto another.
My process often involves an appropriation of materials and techniques that I acquire from an unfamiliar discipline; current influences are from botany, rapid prototyping, and Goethe's theory's of color and plant metamorphosis. My projects interweave select techniques (for example micropropagation techniques such as tissue culturing or injecting mycelium into a sculptural substrate, hydroponic equipment and techniques in sculpture, building a 3D printer in a responsive and emergent installation, the use of electronics for human interactivity) into an aesthetic form of amateurism to question knowledge acquisition, the role of the generalist, and techne. I am attracted to materials that decompose, gradually breakdown, or synthesize, thus encouraging compositional and material transitions or leakages.
With a focus that has shifted to nonhuman subjects, these concepts are further integrated within a trajectory of performance using systems, structures, and rules, along with attention to technological media and diverse actants. In an exploration of other life forms, specifically in reference to biological entities that are part of an everyday environment, I seek different kinds of openings related to the sensorial – these works begin to question the human connectivity and the types of experience or knowledge that could be formed by incorporating different modalities of life into artistic frameworks. I want to suggest a re-conceptualization of human to nonhuman or object-relations with a specific focus on expanding the number and diversity of actors that are included in an event. In recent artworks, these ideas continue to expand through an exploration of alternative durations and communicative realms, and in projects or activities that can increase possibilities for interdisciplinary encounters and knowledge exchange.
My work intermingles ecology and energies; from living cellular species such as plants and micro-organisms; from electronic mediums such as radio waves, electrons, and photons, into forms of interactive installations and performances for specific social and geophysical sites. My PhD project is focused on critical plant studies and new materialism, exploring plant to human relationships through concepts such as extraterrestrial gardening, rogue "systems" and autonomous environments, edibles and performance, and rapid prototyping with dynamic materials. I want to explore the framing of dynamic objects to form a visual vocabulary for the materialization of different events that are connected to the experiential, the lived, or the physical realm of objects and sensations (sound, touch, memory, trace, drift). Groups of objects and events form a “mesh” that is translated and morphed through different sequences and materials to express qualities with an ability to warp, flex, or absorb. A “mesh”can be expanded to include both objects, nonlocal events and symbolic entities such as “carrot”,“Exxon Valdez oil spill”, “plutonium”, “kelly-human”, “or “world”. The idea is to develop a fluidity or an overlap between recognized objects, distorted configurations of objects and symbolic entities (nearly incomprehensible concepts like climate change) into actual relationships and real objects – even though they will not resemble objects anymore but more likely a series of pseudo-objects, gestures and traces.
Conceptual guidance provided by Timothy Morton's writings on the mesh, hyperobjects and speculative sublime. The readings allow a kind of drift to occur between my studio endeavours and the ideas discussed through such texts.
I am interested in exploring Bergson's concept of duration from the text Creative Evolution, 1911. In the first chapter Bergson writes: For our duration is not merely one instant replacing another; if it were, there would never be anything but the present – no prolonging of the past into the actual, no evolution, no concrete duration. Duration is the continuous progress of the past which gnaws into the future and which swells it as it advances (Bergson, 4).
Critical plant studies is in reference to recent writing by Michael Marder. In his role as editor of a new book series from Rodopi press, Marder defines CPS: The goal of "Critical Plant Studies" is to initiate an interdisciplinary dialogue, whereby philosophy and literature would learn from each other to think about, imagine, and describe, vegetal life with critical awareness, conceptual rigour, and ethical sensitivity. Literary works featuring plant imagery may be analysed with reference to philosophical frameworks, while philosophical discussions of the meanings of vegetal life may be enriched and supported with the tools of literary criticism. Another dialogic dimension of the series entails a sustained engagement between Western and non-Western philosophies and religious traditions, representative of the human attitudes to plants. This “cross-pollination” of different fields of knowledge and experience will become possible thanks to the fundamental role plants play in human life, regardless of their backgrounding or neglect. From Rodopi publishing: http://www.rodopi.nl/senj.asp?SerieId=PLANT
The new materialism I reference was introduced to me through the work of Jane Bennet, (Vibrant Matter: A Political Ecology of Things. Durham, NC: Duke University Press, 2009, and Coole D, Frost S (eds) (2010) New Materialisms : Ontology, Agency, and Politics. Durham, NC: Duke University Press.) but has also been expanding into speculative materialism through reading Graham Harmon and Timothy Morton (Harmon, Circus Philosophicus. Winchester, UK and Washington: ZerO Books, 2010. Harmon, The Quadruple Object. Winchester, UK and Washington: ZerO Books, 2011. Harmon, Weird Realism: Lovecraft and Philosophy. Winchester, UK and Washington: ZerO Books, 2012, Morton, Hyperobjects: Philosophy and Ecology After the End of the World, Minneapolis : University of of Minnesota Press, 2013 ). “Rouge Systems” refers to an installation that is set up to be purposely unpredictable where variables in the system engage one another and the outcome is unknown; for example the use of living materials and/or setting up materials into relationships where state transitions are inevitable (water and wood, dye and water, water and sunlight, spores and growth medium).
Andres is an artist and PhD candidate in the Interdisciplinary Humanities program at Concordia University, Montréal, Canada. Andres' work intermingles ecology and energies; from living cellular species such as plants and micro-organisms; from electronic mediums such as radio waves, electrons, and photons, into forms of interactive installations and performances for specific social and geophysical sites. Her current research-creation PhD project is focused on critical plant studies and new materialism, exploring plant to human relationships through concepts such as extraterrestrial gardening, rogue "systems" and autonomous environments, edibles and performance, and rapid prototyping with dynamic materials. Andres’ work has been exhibited at the Whippersnapper Gallery, Toronto, Medialab-Prado, Madrid, Eastern Bloc, Montréal, Science Gallery, Dublin, Latitude 53, Edmonton, M:ST 4 and 4.5 Performance Art Festival, Calgary, Free Radio Banff, Walter Phillips Gallery, Banff, Outpost for Contemporary Art, LA, Galerie Babel, Norway, National Museum of Singapore, and The Southern Alberta Art Gallery, Lethbridge. Andres is currently based in Montréal, Canada.
Andres est une artiste pluridisciplinaire, postulante au doctorat au programme d’Humanités , au centre d’études interdisciplinaires à l’université Concordia de Montreal. Le travail d’Andres entremêle écologie et formes d’énergie; d’êtres vivants unicellulaire ou multicellulaires tels les plantes ou les microorganismes en passant par les médiums électroniques tels les ondes radio, les électrons et les photons jusqu’à des installations et des performances interactives adaptées à des espaces sociaux ou physiques spécifiques. Andres travaille souvent avec des organismes vivants négligés ou jugés trop ordinaires (à cause de leur taille ou de l’importance qui leur est accordée) tels des levures, des moisissures, de la volaille et de la matière végétale. Ainsi ses installations et sculptures sont vivantes, changeantes et se dévoilent constamment, présentant de nouveaux aspects. Le travail explore la relation entre l’humain et le végétal par le biais de concepts tels le jardinage extraterrestre, les ‘’systèmes” indésirables et environnements autonomes, produits comestibles et performance. Andres a exposé ses œuvres à la Whippersnapper Gallery de Toronto, au Medialab-Prado à Madrid, au Eastern Bloc à Montréal, à la Science Gallery de Dublin (avec Grafting Parlour), chez Latitude 53 à Edmonton, au M:ST 4 et 4.5 Performance Art Festival de Calgary, à Free Radio Banff, à la Walter Phillips Gallery, deBanff, au Outpost for Contemporary Art, à LA, et au Musée National de Singapour. À l’heure actuelle, Andres vit et travaille à Montréal.
Aesthetic Experience and Artistic Practice, Urban Ecology, Biotech, Performance, Art and Science, Social and Mobile Participatory Media
Images: Above, Algorithm for Moon (concept in progress), Below, shades of moonlit skies (2010)