My work evolved from an early student interest in the 1960s optical kinetic work of the Zero group in Germany and the South American artists of Group Researche D’arte Visuel in Paris. Artists such as Otto Piene and Heinz Maacke in Germany and Francois Morellet, Julio Le Parc, Carlos Cruz-Diez and Jesus Raphael Soto in Paris. They were artists who believed they could communicate without an institutional or political context. They sought absolute values in their work and to extend the perceptual frontier.
I work with physical and perceptual phenomena intending to communicate directly and intuitively with the viewer. The essential reason to be of each piece is usually a comparative functional relationship between constrained elements. An embedded and purposeful visual concept. A relationship almost like a muscle or a machine. A piece is a nexus of constrained phenomena. The intention of each piece is the illustration of a fundamental principle.
My early work was kinetic beginning with an interest in reflected colour, sun movement and air movement. Later I incorporated attractive and repulsive individually magnetised semi mobile elements in suspended kinetic arrays. Later I incorporated miniature electric motors and pulse mechanisms. Later I added small LED lights and then solid state electronics with programmable micro controllers.
The reason to be of an individual piece is usually a physical or perceptual investigation of relationships between a combination of the elements. This may be steered by a reference to something human or from the natural world. Mostly it is something intrinsic in the materials of the piece. For example the necessity for a heat dissipating device or the integration of an insulated electrical circuit. Or the optimality of a physical and sensual expression of weight and balance, or the mixing, reflection or filtering of light.
In recent years my work has been concerned with space and depth differentiation and twilight colour perception. Specifically an exploration of the Purkinje Shift, a colour perception anomaly that occurs at dusk. Recent work integrates depth and space with differential illumination using 3 dimensional LED light arrays. An aspect has been the consideration of visual mass and presence. These larger light arrays and smaller light wall constructions create a much larger visual event on the supporting walls.
I work with what I see as the fluidity of perception and associated relative values. Some of this is based in science but mostly it is the personal seduction of light and colour itself. I strive with each successive piece to extend the frontier of visual experience. This might be done in a small way but sometimes I achieve something that is beyond a viewers previous experience. For example an unfamiliar volume of light or an intensity of subtle colour. The usual and preferred response to these pieces is amazement.
My creative process usually begins with a neurotic creative phase that resolves into a decisive concept. Occassionally I seek to integrate this neurotic phase into the work itself. I construct a piece to see what will happen. I create a visual event or arguement which precipitates an event sequence. The art in this is the core justification for making the piece. Each piece is an experiment driven by passionate enquiry. Passion provides the ultimate reason to make a piece. In keeping with the roots of my work I like to think what I make is to a degree absolutist and a statement of prime simple phenomena. I do not seek a social context or comment or to illustrate a political posture. If anything the basis of my method is derived from the purity of science and its associated relative judgements. With each successive piece I seek progress to extend the frontier of visual experience.
My work is held internationally in many private collections. My studio is in West London.
Andrew Ryder 2018-19
©Andrew Ryder 2018-19