Iain Andrews

Iain Andrews was born in 1974 and lives and works in Manchester, England. Andrews also work as an Art Psychotherapist with emotionally damaged adolescents, and much of his painting is informed by the experiences of the journeys with these children. In a similar way to Genieve Figgis and Henny Acloque, Andrews draws inspiration from the great masters, with Rococo artists, François Boucher and Jean-Honoré Fragonard, featuring heavily in Andrews’ work. These great paintings aren’t just copied though, Andrews deconstructs them and reassembles them whilst also incorporating the narratives from his work with adolescents to reimagine an entirely new creation.

Salome (2019). Acrylic on paper. 

As well as master painters Andrews also borrows from folklore and the stories and tales that unfold often with elements of abandonment, cruelty and suffering, as well as transformation and metamorphosis. These story lines run along side the narratives and conversations Andrews has with adolescents in his work as an Art Psychotherapist. Looking at Salome I can see this juxtaposition in the palette used, an almost whimsical and fairytale-like plethora of pinks, blues lilacs and gold, but with an undercurrent of grime and grit, we can see even in the foreground what appears to be a head on a plate.

Salome with the Head of the Baptist, 1761, Mariano Salvador Maella

Upon further research into ‘Salome’, the story unfolds as the woman depicted in the painting is Salome, the daughter of Herodias. Salome danced in front of Herod at his birthday celebration which pleased him, he went on to grant Salome any wish of her choice, she chose the head of John the Baptiste on a plate and Herod granted this wish. Salome can often be seen depicted as a temptress and seductive dangerous woman luring men away from salvation.

I’ve purposefully showed both a scanned image and photographed image of my response to Andrews’ work ‘Salome’ as the original scanned image made the painting appear quite dull, however luckily you can see some more life and vibrancy injected into the photographed image, which I feel resonates more with Andrew’s original of ‘Salome’, although as you can see the paper has curled slightly at the edges. I really enjoyed creating this response, using different sized paint brushes I could use a range of colour and light, dancing brush strokes, it reminded me of painting my response to the works of Cecily Brown which also shares some similarities, in loose brush marks.

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