Andy Wicks Paints Blog

Ross Walker

Posted in Artists by Andy Wicks on 9 August, 2012

I managed to catch Ross’s show at Studio 1.1 last month as part of their 30 Artists in 30 days and found myself admiring his print editions on his website only last week. Today i stumbled across a fundraising page (not entirely sure how i found this) in which Ross is looking to raise money to fund him through Turps Banana magazine’s 1st year of their Art School Programme. In exchange for a small amount of money he’s offering a selection of different prints and paintings and while I’m not really in a position to buy more artwork at the moment I couldn’t say no to £60 for one of the very prints I was looking at last week.

Ross Walker – Untitled, Archival inks on 300g cotton paper, 42 x 29 cm, 2012

While we’ve never met I felt a want to get involved and support Ross’s efforts as i had a similar dilemma when I was accepted to the Florence Trust, needing time to make the most of the opportunity without working every hour under the sun to pay for it (I offered a selection of paintings each priced at a months studio rent).

So if you like what you see and want to support an artist you could do far worse than click on the following link –

Ross Walker – Untitled, Archival inks on 300g cotton paper, 42 x 29 cm, 2012

Website updated with 2012 works

Posted in Paintings, Website / Blog update by Andy Wicks on 13 July, 2012

I’ve updated my website with some new works from the past few months you can see a selection below with more on

Hell and High Water I

Hell and High Water IV

Hell and High Water VIII

Plane Sight VIII

Plane Sight IX

Collectible – Zeitgeist Art Projects 18 – 28th April

Posted in Exhibitions by Andy Wicks on 9 April, 2012

I have a couple of new paintings in this exhibition which also features a whole heap of artists doing interesting things right now. My contributions are part of what will now be known as the ‘Hell and High Water’ series, an expanded body of work continuing the format of my 2011’s piece Irene (below). The images of Hell and High Water come from what were initially my photographic outtakes from Thames walk, structures which I discovered at high tide when the water level obscured the majority of its form. When sorting through these images I realized the abstraction caused by the tide changed the previously functional structures into odd legless stumps, seemingly no longer rooted to the bank but floating just proud of the surface.

Irene (Hell and High Water), 2011, Oil on canvas,
25.5 x 20.5 cm

A high-profile inaugural exhibition of 67 promising, mid-career and established International Zeitgeist artists from across all disciplines; including painting, drawing, photography, sculpture and print from £50-£500. These artists in an act of generosity and accessibility have made their works available for affordable prices so that art collectors old and new are able to invest in some of the most promising and established collectible artists whom normally usually sell upwards of £500.

Curated by Rosalind Davis & Annabel Tilley

Zeitgeist Project Space
ASC Bond House
Goodwood Road
New Cross
SE14 6BL

Guy Allott, Iain Andrews, Edwina Ashton, Paul Benjamins, George Bolster, Kate Bowen, Andrew Bracey, Tom Butler, Ben Coode-Adams, Emma Cousin, Graham Crowley, Rosalind Davis, David Dipre, Sarah Douglas, Freya Douglas Morris, Annabel Dover, Charlie Dutton, Karl England, Alyson Helyer, Andrew Hewish, Jack Hutchinson, Peter Jones, Nick Kaplony, David Kefford, Sharon Leahy-Clark, Simon Leahy-Clark, Cathy Lomax, Wayne Lucas, Fiona MacDonald, EJ Major, Amy McKenny, Nadege Meriau, Marion Michell, Clare Mitten, Amy Moffat, Kate Murdoch, Elizabeth Murton, Michaela Nettell, Charlotte Norwood, Wieland Payer, Alex Pearl, Edd Pearman, Gaia Persico, Kate Pickering, Chantelle Purcell, Giulia Ricci, Mark Scott-Wood, Alli Sharma, Gordon Shrigley, Lisa Snook, Emily Speed, Corinna Spencer, Melanie Stidolph, Boa Swindler, Freddie Robins, Annabel Tilley, Virginia Verran, Jenny Wiener, Rich White, Andy Wicks, Rachel Wilberforce, Chiara Williams, Sarah Williams, Jonny Williamson, Jo Wilmot, James Wright, Peter Wylie.

Londonist Article

Posted in News by Andy Wicks on 8 January, 2012

The Londonist have written a small article on my work as part of their London artists series, which looks at artists who take the city as inspiration. You can see the article here

Recent text – Colin Perry, July 2011

Posted in Florence Trust, Writings by Andy Wicks on 29 August, 2011

Andy Wicks’ paintings depict objects that might initially appear otherworldly or imagined, but are in fact real structures for mooring boats that can be seen – should you look – dotted along the River Thames. Existing some place in the no-man’s land between improvisation and ordinary functionality, they appear alternately too decrepit for use, or else modern, robust and sturdy. These mooring stations are called ‘dolphins’, an appellation that seems arbitrary given their utter lack of physical resemblance to the marine creature. Also seemingly arbitrary is their ad hoc composition and materiality: they can be built out of anything from pressure-treated pine to hardwood, reinforced concrete, or steel girders and tubes. Here, form follows function – but there is also a unity to their robust armature and tide-washed weathering, rusty iron, and agglutinated patches of algae fronds. Wicks’ paintings have a striking figure-ground contrast: the backgrounds are often rendered with a muddy-watery effect created by mixing resins, thinned oil paints and other mediums, which the artist agitates into eddies of bare canvas and coagulated paint – a process that echoes the flow of the river itself.

Colin Perry, 2011 Published in Florence Trust 2011 Catalogue

Colin is a freelance art writer based in London and writes for Art Monthly, Frieze, ArtReview, Modern Painters amongst others.

Andy Wicks, Irene, 25.5 x 20.5 cm, Oil on canvas, 2011

New paintings

Posted in Paintings by Andy Wicks on 13 January, 2011

I’ve recently had my new works photographed and have uploaded them to my website as an example of what i’ve been up to over the last few months. It was great to work with a photographer with all the equipment and a proper studio and the results are far superior to anything I’ve ever been able to do myself. For your chance to see them in the flesh make sure you come along to the Florence Trust Open Studio 21 – 23rd January.

More images available on

Nicole – 2010 – Oil on Polyester – 25 x 25 cm

Tomas – 2010 – Oil on gesso panel – 25 x 20 cm

Exhibition openings and fast approaching deadlines

Posted in Writings by Andy Wicks on 8 March, 2010

I’ve neglected the blog a bit recently, with two group show openings last week and new work to complete for a solo show being installed on Sunday it been a busy month.

The show at Southall went really well, at the opening the huge space neither felt over hung by works from the 40+ artists or too sparse, even my 3 large paintings (up to  5 x 6ft ) which constantly get in the way in the studio seemed to shrink once hung from the mezzanine floor overlooking the rest of the space. I’m kind of glad a space of this scale isn’t the norm as otherwise I’d probably be creating 15 x 10 ft pieces just to make an statement.

The Middle of Nowhere installation view

The Middle of Nowhere installation view

I’ve yet to see the Police and Thieves show in New Cross but will be invigilating at the space on Sunday 21st if anyone wants to come along to look round and have a chat.

Over the last month I’ve been working on 3 pieces for the Medcalf show as all my other work is tied up in Southall/New Cross. The thought of producing new paintings in a short space of time was daunting with a number of walls to fill. As soon as the dates for the exhibition was confirmed I rushed to the studio and stretched up the only piece off canvas I had spare, without knowing the size to get a stretcher made in time I stapled it straight onto the wall, priming with 2 coats of acrylic primer followed by a black/brown wash all in a matter of hours. On the 2nd day I managed to finish the ground with a thicker dark wash consisting of paynes grey, titanium white & a bit of raw umber, these were applied from the tube by palette knife to different areas of the canvas and thinning down with zest-it to get create a wash.

1st wash

The thing I like about working this way it that it leaves areas of thick paint and change in consistency to the thinned washes, where the zest-it flows past the thicker oil it erodes the paint leaving organic shapes.

I took a photo a while back of a building near City Road, Old Street which has always intrigued me, I think it’s some sort of power substation which has a really iconic but decaying look to it. With a strong form it jumped out as the right image to use for these works, especially as they’ll be on show less than a mile away. I had 2 smaller canvases – 100 x 100 cm and 80 x 80 cm which had been worked on numerous times without going anywhere so I lay some washes on these, one brown and the other more of a creamy white tone. The larger of the two had some angled stripes worked into the white acrylic primer with a dull linen colour acrylic paint and worked well as an undercurrent to the chaos of the overlaid paint. The 80 x 80 cm had elements of pink coming through from my day over Christmas of laying down baby pink under painting which appears through the wash giving the canvas more of a weathered look. For the first time I’ve returned to the same image for each of the 3 pieces with a front-on view and one from each side which while the colour and shape connects them together each reveals a bit more of the building while obscuring something else.

Structure detail

To finish off the show I will be hanging 6 of the 10 x 14″ pink canvases which I’ve been working on since Christmas, each has now moved away from the pink but stayed with loud, bright colours this time staying purely abstract with intersecting diagonals obscuring the flow of the paint beneath. Each retains some of pink ground but has complimented it with their own strong individual compositions and colours. It’s going to interesting to see the contrast between the larger architectural works and these small brighter abstract paintings when hung together.

After a few minor tweaks tomorrow they’ll be done and all the paintings will be wrapped and readied for a short van trip from Bethnal Green to Clerkenwell. Looking at the new paintings particular the largest canvas all things considered I’m very happy with them and who knows, if there wasn’t such a tight deadline they may have continued evolving or even overworked. They work as individual paintings, while together offering up subtle differences, a ghostly silhouette of a structure floating among dreary colourscapes intersected by dark brown diagonals as if the landscape has been obscured by prison bars or a half open blind. Is the viewer locked out of the painting or is the painting is locked out of our world?

Bonnie (south)

You can make your own mind up from Monday 16th March running until Friday 30th April at Medcalf, Exmouth Market.