Books: Book making is one of the ways I have brought the discussion/interaction to a conclusion. In one sense it is my pocket-sized exhibition for that project. Therefore I want the book to reach an audience and it has to be affordable for them. I design and set the book out myself and have them printed locally. The materials are the best I can afford, but not the best available. The print run is small, perhaps 20 or 50, although I may mark the book as being of a run of 100; this is to cover me in case there is a future demand. The cover of the book reflects my process or some aspect of it, while the interior is generally a variable compilation of the result of my discussion with some or all of the individuals participating.
Short films: What does it feel like when you 'pop down the road for a minute', when an hour passes, second by second? During the video I photographed time-pieces: watches belonging to other shoppers in real time, and the clocks on the walls of the shops. I compiled them into a linear arrangement of the minutes passing to the beat of a second to try and express the feeling of time passing.
Just popping out, back in an hour on YouTube
Fire excites introspection or conversation. It isn't a passive experience to gaze at a fire, but in recreating the experience I can only combine elements of that experience. And so it is with all videos that I attempt to make; they try to recreate an experience, especially what it felt like to be there.
fire on YouTube
Charlotte Andrew: My art practice is mainly a response to where I live (the community, country or city) and with whom I share that space. The investigation into that space usually involves interaction with the people who make up that group: each new place suggests a different social or socio/political problem. I want to find out what others think of that problem and why. To this effect I devise a question and offer some form of exchange for their answer.
In 2013 I commenced a Doctorate in Fine Art at Elam School of Art, Auckland University. I am a 4th-generation New Zealander, although I have spent many adult years living outside the country. The time spent in New Zealand will be engaged with changes in perspective of identity and belonging, and different approaches towards knowledge between an Enlightenment Western and an Indigenous approach. This study evolved out of an interest in early rock drawings found in New Zealand, which I was not hitherto aware of, in particular the significance of the Birdman motif found at a small number of the sites.
I originally trained as a nurse but took up art in Belfast (Northern Ireland), where I joined the first group to be taught Foundation studies part-time at BIFFY. Continuing part-time, I started my Bachelor of Arts at Wimbledon School of Art, but again I moved country and halfway through my study I switched to full-time in Washington D.C. at the Corcoran College of Art and Design. On my return to London, I completed my Masters of Fine Art at Central Saint Martins.