Andrea V. Wright is a multi-disciplinary visual artist currently based in London, UK. She graduated with a BA from Chelsea College of Art & Design in 1994 and embarked on a career in fashion, styling, and music working with magazines such as The Face, Arena, and Italian Vogue before re-engaging with her art practice in 2010. Since graduating with distinction with an MFA, from Bath School of Art & Design in 2016 she has been invited to exhibit at Arthouse1, the Collyer Bristow Gallery curated by Rosalind Davis, the Koppel Project, ’New Relics’ at Thames Side Studios, Prevent This Tragedy at Von Goetz, Post Institute curated by Dateagle Art, ’Index’ curated by ThorpStavri and ‘Super Flatland’ curated by Paul Carey Kent and Yuki Miyake.
Andrea had her first Solo Show in 2019 at Galeria Nordes, Spain, and was selected for the Jerwood Drawing Prize 2017, Royal Society of Sculptors Bursary Award 2017/18, the Ingram Collection Purchase Prize 2019, and the ING Discerning Eye 2020 selected by curator Jo Baring.
Over the last 15 months and with the emphasis in the art world necessarily turning to digital forms, she took part in several podcasts and online publications, speaking about her practice and motivations as an artist. She has also been invited to participate in several online and physical exhibitions including ‘Super Flatland’ at White Conduit Projects curated by Paul Carey Kent. This has enabled her to reflect on her work and the essence of what she sought to portray in her work.
Statement 2021
“Over the last year, my practice has alighted on the hybridity across sculpture, digital print, and repurposed materials. I often make small paper and balsa maquettes to try out ideas for potential sculpture, particularly over the last 15 months where without any fabrication facilities I turned to digital photographs of previous works and installations, cutting them up, combining, and reforming them into a series of ‘Maquettes for Future Sculptures’. Flattening – extracting – re-flattening with fragments of my recent latex installations, tape drawings, and MDF laser cut assemblages.
Earlier this year I also returned to found materials, hoarded scraps, and fly-tipped detritus in my local area, and over lockdown I deconstructed them, reconfiguring them into abstracted structures called ‘Precarious Conditions of Uncertainty’ through the layering of material reality and fantasy. Over the next few months, I am working on a number of pieces and maquettes that would be presented as wearable transformative objects made from a combination of laser-cut plywood, cast structures, latex, and fabric.