As part of our ongoing partnership with In The Make, Beautiful/Decay is sharing a studio visit with artist Andrew Schoultz. See the full studio visit and interview with Andrew and other West Coast artists at www.inthemake.com.
We were warned by Andrew’s wife and fellow artist Hilary Pecis, that his Mission District studio was in a state of disorder and it definitely lived up to the hype, but as Klea always says, “mess is photogenic.” An incidental side effect of making work, messes are often as telling and interesting as the end product itself. In many ways, there’s more story in the mess left behind; beginnings are laid bare, shifting and unfolding ideas can be tracked, and the push towards completion takes on a very real and tangible form. I think Andrew’s messes speak not only to the textured nature of his current work, which often features layer upon layer of varied materials, but also to the way in which he absorbs information, appropriates it, and then reconstructs and presents it. The course of political history and the themes that play out over and over again are of particular interest to Andrew. He keenly reads about, listens to, and observes a great deal about our historical and present-day developments, particularly around social, environmental, and economic issues, yet in his work he doesn’t depict or reference anything too closely to the facts. Instead he takes possession of information and personalizes it with his own visual language to get at the heart of a feeling, rather than clear-cut particulars or opinions. The imagery in Andrew’s work, the recurrent motifs and references, express a state where past and present continually converge, and where the future is not a new and distinct period up ahead, but rather just a reiteration of what came before.