phone : 510.326.0277
email : firstname.lastname@example.org
website : www.amfuller.com
Born in Quito, Ecuador and raised over both North and South America, Andrew Miguel Fuller currently resides on the razor-thin border between Emeryville and West Oakland in the San Francisco Bay Area. Holding a degree from the University of California at Berkeley in International Environmental Policy, his artwork often teases at questions of interdependence and at humanity’s place on this planet.
“An artist’s words are always to be taken cautiously. The finished work is often a stranger to, and sometimes very much at odds with what the artist felt, or wished to express when he began. At best the artist does what he can rather than what he wants to do. After the battle is over and the damage faced up to, the result may be surprisingly dull—but sometimes it is surprisingly interesting. The mountain brought forth a mouse, but the bee will create a miracle of beauty and order. Asked to enlighten us on their creative process, both would be embarrassed, and probably uninterested. The artist who discusses the so-called meaning of his work is usually describing a literary side-issue. The core of his original impulse is to be found, if at all, in the work itself.”
Because most art is born from a stew of conscious and subconscious impulses, knowing something of the artist’s beliefs, intentions and persuasions can be useful to the viewer when looking at an unfamiliar body of artwork.
I believe that all things, spaces, and people are interconnected in ways both mysterious and apparent.
The design of a building influences the psyche of the people in it. The frame around a painting influences — dramatically — the composition, weight, and feeling of it to the extent that it’s hard to see the two (painting and frame) as anything other than a single object.
Just as a building’s design shapes the experience of the person within it, the artwork and other physical objects around us influence our lives as surely and as subtly as the gravity of the moon gently tugging at the distant ocean.
Being as inextricably tied to the world we live in, we can look to almost any part of it for insight into ourselves.
Every single thing that the human hand or mind touches bears the mark of its contact. Each thing becomes a reflection of some part of us.
I believe that there is power in repetition. The repetition of shapes and objects allows us to see things that would otherwise be hidden in the seemingly impenetrable singularity of objects.
I believe that there is power in simplified forms. Refined, simplified, and minimal shapes expose complexities otherwise too obvious to see.
I believe that persistence can drag meaning and insight from the commonplace and transform even the familiar into the peculiar.
I revel in the subtle tension between the individual and the world they inhabit, each influencing the other in myriad ways. My artwork is an attempt to explore this question.