Andy Wicks takes iconic, but unsightly buildings, and reinvents their bold hulking forms as semi-abstracted silhouettes, set against a rusting background. The work takes reference from concrete, steel, weather systems, rust and decay; the pieces are executed through a gestural technique, which involves the dripping of liquid veils of paint contrasted with a thicker application of oil. The weeping paint serves almost as a reverse wash, a tear stained window through which we see geometric forms that float ominously. The loss of context and surrounds – simultaneously harshens and softens their architectural power; without modern new buildings or empty wasteland to compete with, the piercing forms become timeless.

 

Taking reference from contemporary German painters such as Albert Oehlen, Thomas Scheibitz, and Tobias Lehner, with these smaller canvases Wicks’ experiments with an expanded palette. These pieces move away from the imagery of the architectural paintings to a more formal abstract aesthetic; working from a baby pink ground to resolve themselves balancing the chaos of dripped, splattered or scrapped paint with slick masked geometry.

 

Wicks takes his titles from the list of Atlantic hurricanes names, whilst disguising the real world point of reference, these arbitrary names imbue a sense of identity – gender, life time and personality.