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Drawing Art Gallery CHAOS

Pat Andrea was born in 1942 in the Hague, Holland. After his studies at the Royal Academy of Fine Arts in his hometown and until 1976 he works and exhibits mainly in the Low Countries. In 1976, an invitation for an exhibition in Paris and a long journey and residence in Argentina changed his life and art in a decisive way. Art-critics have often placed him halfway between Bacon and Balthus , and he was called “the master of overturn “or “ a psychic impressionist”. He works alternatively in the Hague, Buenos Aires and Paris, where he has been a professor at the École Nationalle de Beaux-Arts since 1998. Since 1966 he has shown his work in more than eighty personal exhibitions all over the world, (Amsterdam, Barcelona, Brussels, Buenos Aires, Chicago, Los Angeles, Madrid, Milan , Lyon, Lisbon, New York, Paris) in even more group shows and in six retrospectives (last one in Athens, 2001).

In 2002 he was elected correspondant de l’Académie de Beaux-Arts de l’institut de France. In 2005 he shows 25 years of work at MACUF in Coruña, Spain. From 2003 to 2006 he works on 50 images of large format for an edition of Lewis Caroll’s “Alice’s Adventurels in Wonderland” and “Through the Looking Glass” (publications Diane de Selliers). The book gets published in September 2006 and the original artworks start a “world tour”, where they will be exposed in France, Greece, Holland, Spain, Argentina and other countries.

His Works are in museums and public collections: Museum of Modern Art - New York, Centre Georges Pompidou – Paris, Museum Nacional de Bellas Artes - Buenos Aires, Stedelijk Museum – Amsterdam, Museum of Modern Art – Belgrade, Frissiras Museum – Athens etc.

An art critic finds himself in a realty awkward position when standing in front of Pat Andrea’s work. Every attempt to define his work with a few words seems to be doomed from the very beginning. The eminent failure of this effort seems to become a certainty when one adds to the objective dichotomy between written and painted word the very nature of Pat Andrea’s work, a work uniquely authentic that can account for an originality in expression that one would have thought, maybe not without reason, that contemporary painting had lost for ever.

What mostly determines Pat Andrea’s painting lays in the uniqueness of his painting vision, what in the microcosm of art is usually called “the artist’s style” without, nevertheless, being always capable of giving the term a truly meaningful content. Pat Andrea could -by every right- exhibit this achievement before everything else he has accomplished in his artistic journey, thus winning de facto his own place among the most eminent artists. His work undeniably possesses its own identity, a rare autonomy of expression that has earned him his own peace in the imaginary museum containing the most significant moments of artistic creation. Thus, the beholder learns to identify his work, gets accustomed to his expressive codes and, finally, becomes capable of do-codifying it and sailing through his imaginary worlds.

This is actually where true art aims at and this must constitute the end of every artist’s efforts; to establish new ways of communication with its audience, to start up a meaningful discourse where a prolific exchange of ideas will be taking glace using artistic creation as its principal medium.

Indeed, Pat Andrea’s world is nothing tike ours. It is a world where everything is in constant change, built on contradiction. The beholder is constantly divided between reality and dream, a universe in which conventional rules are constantly put to test or cease to exist at all. Human figure is distorted, the classic rule becomes redundant and obsolete. There is no gravity anymore, the figures ere flying, the scales are completely suppressed or simply juxtaposed in the same plan. The space becomes flat, the lines are nervous and energetic. The characteristic lack of any measure gives the composition a strange Lyricism that compliments a certain sense of violence, mostly a violence of form and expression and not so much one of subject and content. This is enhanced by the organic use of sharp colour oppositions and the cruel, almost raw use of light.

Christina Sotiropoulou

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