October 2017: Andrew Wood

In Blog By by Regina Zehner On December 17, 2017

DSC_0072Andrew Wood, installation view


Andrew Wood’s getting_on-off.expressway resonates as a visual narrative. Using multidisciplinary methods of performance, installation, sound, video and collage, Wood ties language to the works through a primary foundation that draws attention to society’s obsession with the automobile. Implementing the structure of the script as the basis for the work, visual objects are influenced by the script’s words such as the drawings that hang in the gallery and layered paper and vinyl posters on the wall. These objects could be referred as the setting, or texture for the story. Acted on the opening night, the performance gave the script life through the interactions of the characters and a live narration spoken by Wood, which directed the work’s intentions.


The central aspect of the installation, a wood and aluminum sculpture that represents the car itself, is tied to the idea of a car crash. The structure is separated in two parts; one placed closer to the window and one placed a few feet behind, aligned accordingly. The dimensions are fitted from a car that is essentially cut in half to allow a walkway for the viewer. Industrial chains hang from the ceiling and around the installation, the rest of the gallery is set as if there is a scene being recorded for a movie. Set lights are directed at the installation and other various objects. After the performance, a television is placed in the front part of the car with one headset lying on one of the seats, allowing audiences to gain understanding of what happened that night through an animated video of the night. The video acts as a relic, remnant of the performance and is also is a major key to the work.



Andrew Wood, detail from getting_on-off.expressway


In the performance, the life of characters and plot are essentially linked to the idea of the formerly stated car crash. In the beginning, the characters are staged within the prime moments after the car crash and then are set into a repetitive plot series of acts that leads the story to the same crash at the end. At the same time, the artist narrates and uses sound to further distinguish the world he is presenting to the viewer. On the opposite wall, a projected animation of instructional pages about air bags, seat belts and cars plays as the performance and narration climaxes. Throughout the 20 some minutes, characters move within and around different parts of the car, speaking their lines into microphones and at some points, hiding outside the gallery window. Though, there is one character, the camera man, that disrupts the narrative itself by documenting the show. The cameraman records the performance using quick angles and focuses that separates the work from being digestible through a simple movie structure.





Andrew Wood, detail from getting_on-off.expressway


Using multidisciplinary process such as drawing, collaging, writing, installation and performance, Wood addresses the audience to interact with the art, to get involved in the story. The work functions in a cycle of obsession, destruction and construction. From the characters’ descriptions of the installation to the construction of the video after the performance and even to the death of the characters in the script, the work addresses a narrative that is humorous and layered. getting_on-off.expressway pulls to focus the interactions with our own cars and the truth that despite getting out of the car, we will always go back to the beginning, we will always get back into the car. 


Andrew Wood, detail from getting_on-off.expressway