ANDY BOOT
28. April – 26. May, 2012


installation view


installation view


installation view


Untitled (pink) 2012, Rythmic gymnastic ribbon, wax, frame, 72 x 102 cm


Untitled (navy blue) 2012, Rythmic gymnastic ribbon, wax, frame, 72 x 102 cm


Untitled (black) 2012, Rythmic gymnastic ribbon, wax, frame, 72 x 102 cm


Trombone, 2012, Handtufted wool, 186 x 242 cm


Submits, 2012, Handtufted wool 222 x 242 cm


Press release

Two large rugs featuring images from junk email advertisements lay
the ground for Andy Boot’s solo show at Croy Nielsen. Boot uses what
can be considered waste products of the digital sphere, and in this
case they are literally interwoven in our material world: Trombone
and Submits (all works 2012) have been hand-tufted in Nepal and
shipped to the gallery in Berlin, where they evasively adopt postmodernist
forms. The abstract patterns originally formed the
backgrounds of two specific junk-email images, of which Boot has
subtracted their ‘foreground’ graphics. A paradox defines this
relationship: the original png-files have been twisted, warped and
downsized to ensure they will surpass email filters, while the rugs
are ‘upvalued’ by their size, quality and context. Yet the image both
as a poor png-file and in the form of a precious rug/piece of art,
acts as a surface to serve its specific – digital, aesthetic as well
as practical – purpose. In both ways it is conceived as a flattened
background which at once alludes to an intriguing depth (let alone
formally): Pixelated and reduced in its colour palette, the image
compels through murky and dull shades in the digital realm, only to
appeal by a similarly coarse yet sinuous aesthetic in the handcrafted
rugs, carefully made strand after strand of dyed wool.

Reduction and subtraction of images and space is also at stake in the
second new series on view at the gallery. Rhythmic gymnastic ribbons
have been left to fall into picture frames that were then filled up
with white wax. In action the ribbons form an object and mass,
however a few frames later all grace is lost, and the object might as
well never have existed. Suspended in solid and hardened wax, they
adopt the flattened qualities of the aforementioned png-files, but
they also appear as weightless abstract patterns.

The works are part of Andy Boot’s ongoing investigation of different
zones or planes integral to the organization of an image:
Andy Boot asks, all but rhetorically, not to mention paradoxically,
if it is possible to make an image that is not an image. Indeed, what
constitutes an image now that we live in the labyrinth of images?
What is its current zero degree? And how is that determined? Or
perhaps better yet, legislated? (Chris Sharp)
He pursues these questions with rigour, still his analysis of images
is characterized by wit and modesty: Engaged with gestures of
reduction, Boot commits himself to the random and uncertain, until a
pattern appears.