Andrew Glass’s tactile, process-based paintings are tangible deconstructions of the creative act. He paints panel, cuts it into strips, and reassembles the textured, incised surfaces to create abstract compositions. This process, drawn from the linguistic theory of deconstruction popularized by philosopher Jacques Derrida, dismantles the whole in pursuit of meaning in its parts. To that end, Glass creates a surface by exploring what is underneath, the deconstructed and reassembled works hinting at an unknown history invented by the artist.
Glass’s paintings are also careful meditations on the technical aspects of mark making, geometry, repetition, and pattern. Reduced to their essentials—color, line, form, and texture—the finely-wrought surfaces are gestural ruminations on the instability of structure and meaning. The palette of peachy-pink, pool blue, and pale yellow evokes the tonal harmonies of beach life in Southern California, where the artist lives and works. However, Glass punctuates his pastel surfaces with unmodulated patches and lines of black. The result is a unique visual language in which aesthetic theories of art and philosophy intermingle with aspects of the everyday.