Kirkland Courier
December 1, 2002

Subtlety Allows the Interior Out, Draws Viewer In
By Peter Steckel

Viewers are most apt to be struck by the subtlety of Dean Andrews and her paintings. “Subtlety today seems to get overshadowed by, not only a barrage of imagery, but the speed at which it is shot at us and at which we are expected to assimilate it,” said Andrews during a recent interview. Where she works and lives is the antithesis of this barrage. “My productive time is spent in a quiet, contemplative, ‘interior’ place that doesn’t let much from the outside in,” she said. It’s a place where she can work in complete silence. “That is much of what is reflected in my paintings.”

Perhaps because her work is subtle and doesn’t clamor for instantaneous and complete attention, Andrews recognizes that it demands something that all viewers may not be able to bring to it. “First of all, it requires slowing down enough to really see it,” she said. Andrews points to one of her great influences, Robert Irwin, who said, “Seeing is forgetting the name of the thing one sees.” It’s necessary to work in order to enter that, “wordless space where you are appreciating something purely for its beauty, for what it is offering you visually and aesthetically.”

Andrews equates it with the experience of, “Really taking the time to let a stunning sunset overwhelm you.”

There are signs of subtlety in art and sensibility (and even in marketing) all around us,. Andrews would have us look to the monochromatic advertising exhorting us to “Fall into the GAP” or to proposals coming in for the World Trade Towers Memorial, “One of which is simply two columns of blue light projected up into the skiy as sort of ghost images of the towers.” For those who doubt the impact of art that does not immediately clout the viewer over the head with image and color, Andrews points to Maya Lin’s Vietnam Memorial in Washington, D.C. “There is a long tradition of minimalism crossing all areas of creative expression, in architecture (Philip Johnson), music (Philip Glass), sculpture (Isamu Noguchi) and painting (Agnes Martin),” she added.

Coming from a large family, Andrews chuckles over the possibility that the minimalism in her art might represent that, “I’m still searching for a peaceful spot amidst the chaos!” But that would be too simplistic, especially for those who find a calm port in the storm when viewing her paintings. “I think appreciators and collectors of my work are those who are most easily transported to that place of quiet,” she said.

Artists such as Kenneth Noland, Agnes Martin and Frank Stella have influenced Andrews. “There is always a danger in people thinking your work is derivative but I think it’s pointless for an artist to give that consideration,” she said. Andrews sees it more as an exchange. “We all are influenced whether or not we choose to acknowledge it,” because, “there has been a dialogue among artists as long as there have been artists.”

This give-and-take colloquy between artists, writers, painters and musicians is occasionally, jokingly, referred to as “stealing.” It’s part of what makes for “movements,” “styles” or a musician’s “act.” And even creative artists who work outside the accepted artistic community, decrying its corruption or decline, are influenced by those around them.

Whatever their reference point, Andrews feels that artists have an obligation to make their art. Simply put, “Those who are gifted with the ability to express themselves ought to find a way to do it,” she said. And the public has a responsibility too. “If (an artist’s) interests are social or political and they have a means of expressing it, I think the rest of us have an obligation to actively listen,” to the, “chroniclers of our time.”

The interaction between artists and patrons is very intriguing. “They connect on a deeper level than the general observer,” said Andrews. “Art patrons often are as passionate about the work as the artist and feel a personal connection with not only the work but the artist as well.” All art, be it on the stage, a canvas, a book in your hands or shaping clay and stone involves a deep form of communication between people, with the art serving as the catalyst in the relationship. “Patrons make the difference in the amount of exposure an artist’s work receives which then directly influences the artist’s success,” said Andrews. “Having a champion on your side who appreciates and supports you unconditionally, as many patrons do, is a tremendous asset for an artist.”