Contemporary Fine Art Painter
Andrew Gray is an international artist producing monumental scale paintings in the genre of magical realism. His paintings are laced with narratives exploring future conditions for human culture. His imagery draws from a synthesis of scientific advances, artificial intelligence, current affairs, popular culture, and world history. As a 21st Century painter Andrew utilises a wide range of stylistic approaches to paint with oil and acrylic media on canvas
In 2014 Andrew completed a PhD researching reflective practices in art and design and currently paints and lectures in Switzerland and Nepal
The Conference of Crossed Destinies 2021
Oil and Acrylic on canvas 200x120cm
The Astronomer Royal, Lord Martin Rees, once described science as the structure of a building. Particle physics is in the basement as it is truly fundamental, ascending through the more complex structures of chemistry, biology and the life sciences, until we finally reach economists who aspire to claim the penthouse. Italo Calvino’s ‘The Castle of Crossed Destinies’ (1973), deals with semantics, meaning and interpretation. It depicts a group of travelers who inexplicably lose their ability to speak after passing through a magical forest on horseback. After arriving at a castle, they join their aristocratic hosts around a long table and attempt to regale the conditions under which they came there pictorially using Tarot cards. The narrator’s loose interpretations are indicative of how easily meanings can be misconstrued. This beautiful book was used by Vlatko Vedral (2010) as a metaphor with which to structure his scientific discourse- ‘Decoding Reality; The Universe as Quantum Information’. He envisaged a scenario in which each of the participants around the table represent a knowledge field and that the research conducted in each field uncovers just one aspect of what we understand as reality. His proposal that one thing to connects them all, and that is that information is physical, is compelling. That ‘the conference of crossed destinies’ (2021) I place a multicultural cast of characters whose activities or research has fascinated me.
Yet across the gulf of space 2020
Oil and Acrylic on canvas 300x100cm
Nasa's Curiosity rover landed on Mars on August 6, 2012. The incredible engineering and technical vision is enabling the search for the next genesis, the theme explored in this painting. Coatlicue, an Aztec statue depicting the mother of the sun, is also the name given to the massive second generation star that went supernova 8.5 billion years ago. This supernova seeded the interstellar medium with the heavy elements that compose our solar system and any life in it. Hanging in the air like the classic space invaders game of the 1980's, are the biomorphs developed by the esteemed evolutionary biologist Richard Dawkins. Humanity is still taking baby steps in terms of discovering life elsewhere in the universe, and our fragility as a species is echoed in the vulnerability of the infant. The harshness of the Martian environment stands in contrast to the rich diversity of habitats found on Earth.
Born in a Water Moon 2018
Oil and Acrylic on canvas 300x200cm
In 2017, Alphago, an artificial intelligence algorithm created by Google DeepMind, beat the 18 time World Champion Go player Lee Seedol in a televised challenge match 4-1. The match was seen as a coming of age for AI.
Look again at that pale blue dot (in the balance) 2019
Oil and Acrylic on canvas 300x190cm
In the 1970's Carl Sargen's famous words were intended to inspire a generation to care for planet earth. Whilst this did not materialise the early Twentieth Century environmental movement is 'looking again'. We must explore what potential new technologies could have in helping solve environmental crisis, whilst simultaneously being cautious of the dangers it may pose. Here I am in conversation with my AI Avatar (after Bina48), whilst Libra from the Kit-Al-Buhan symbolises the need for balance.
Orders of magnitude 2019
Oil and Arcylic on canvas, 180x 130cm
In 2019 the first photograph of the super-massive blackhole M87 was released. It followed the discovery of the Higgs Boson at CERN in 2012. Here both are composed in relation to the human scale, which is numerically poised midway between the very largest and smallest structures in the universe. This painting explores my genuine fascination that life, to quote Sir Martin Rees, "assumes its greatest complexity on this intermediate scale", and that nothing more complex as a human brain has yet been discovered.
Oil and acyrlic on canvas 160x160cm
The arrival of ESA's Rosetta satellite (so named after the Rosetta stone used to decode Egyptian hieroglyphics) at comet
67P/Churyumov–Gerasimenko (67P) in 2014, was the extraordinary culmination of a 20 year mission. The discovery of Glycine in the coma fuelled debates about the origins of complex life in our solar system.
Truing the wheel 2017
The philosophical writing of the American Pragmatists has been described as the first empirically responsible philosophy, which drew upon the best cognitive science of the age. The philosopher John J. McDermott once described Pragmatism as 'truing the wheel' reflecting our need to periodically reassess our experiences in the flux of life.
Oil and acyrlic on canvas 270x80cm