I like to address the landscape as both a internal and external phenomenon, using the lens of popular culture and what I understand to be “contemporary archetypes”. I typically work in a installation format, as I feel it best can capture the feeling of the landscape, especially the urban landscape, through the use of multiple materials and devices. Using light box photographs, painting, sculpture, and video to create multifarious tableaus, in an attempt to capture the full range of daily visual experience.
Most of my recent work revolves around a certain set of shapes, used to define a marked place of life, experience and memory. These shapes change in meaning for myself and hopefully others by how they interact with each other and their environment. They are a pictographic memory system, used to create a process that is meditative and active in it’s mode of execution, and in the completed image. The process involves the use of chance and expectation, working in consort, in some ways, nullifying each other out. A system set up with specific designs, yet no specific outcome is expected.
The process by which the work is made is as important to me as the outcome. The use of the “system” functions on two levels. The first being, it creates a space to focus, as is common in meditation practices, something like a mantra. The second is the egalitarian implications of having a system, a recipe, a formula, in theory anyone could make these things, albeit with quite probably a different outcome, but that too is not unlike a mantra. The final outcome is therefore a product of moments, longing and resolution.
Over the years, many things have influenced the evolution of my artistic practice. I have been strongly influenced by early experimental film, various types of meditative processes and experimental ambient music. These things have helped me to define my broader sense of the spiritual in my work as a artist, tending towards a poetic relationship with my visual sensibilities. I have a strong affinity for the work of artists like Stan Brakhage, Sol Lewitt, John Cage, and Brian Eno. The use of process to generate a work of art enable a poetic beauty I try to emulate in my own work.
Andrew Rigsby was born in 1970 on the Southside of Chicago, on the cusp of an era in the “back of the yards” neighborhood. Raised in the Catholic tradition of his immigrant roots, life, travel and some good wine (none of that sacramental crap) opened the world to the pursuit of art and meditative practice beyond 47th street and the prairies of suburban Chicago. Rigsby has a continuing love of process oriented exploration that involves painting, video and sound. Through visually and aurally investigating concepts such as apperception, psychedelia, and painting as video and sound, Rigsby creates work that mediates an internal meandering of self-revelation and meditation.
Rigsby holds at BFA in Painting and Drawing from Bradley University in Peoria, IL. After spending five years in Seattle, he returned to Illinois to attend Southern Illinois University in Carbondale for his MFA in Studio. Rigsby is the founder of GARDENfresh, an apartment-turned-formal gallery space in Chicago. After a successful 8 year run, it is currently on hiatus. He has shown both nationally and internationally, most recently at the Hyde Park Art Center in Chicago. He has shown with (Con)Temporary Art Space, antena, Mikes Museum in New York, What it is in Oak Park, Il, Florida Gulf Coast University, Bridge Artfair in New York, Miami and Tokyo. He is currently represented by what-it-is project space in Oak Park Illinois. Rigsby currently lives and works in Chicago.