Frequently asked questions...

An ongoing user-submitted interview with Andre Woolery based on questions about my life as an artist and otherwise...

[andrewoolery]

WHAT WAS YOUR FIRST ART SHOW?

In December 2011 I was able to participate in my first group show, Judge & Jury by Kianga Ellis Projects.  I rented a Zipcar, put the Kanye piece in the back of the trunk and headed off to Brooklyn.  I was probably the first person to drop off my work and I felt anxious because I had never been amongst people that called themselves "artists".  It was an interesting moment for me because I felt like I didn't belong.  My work looked different, I looked different, and it was all new to me. 

It was the first time putting my art in a public space and the ironic thing is I wasn't able to be present.  I was taking a trip to Jamaica to visit my family for Christmas. The night of the event I Twitter stalked people posting photos through the hashtag and "watched" the show from another country.  There were a few photos with my work positioned above everyone and in the spotlight. At the moment I felt even more awkward because my work was separate from everyone else.  Now looking back, I appreciate the position my work was put in. Shout out to Ms. Kianga for my very first show!

[andrewoolery]

COMMISSION STORIES - DREAMS OF PUSHPINS

Commissions start off in the most random ways.  Back in 2011, I got an email:

"I had a dream last night that you made me a tackover of the tribe called quest anthology album cover and now I really want it - no rush so if you're busy now I just want to put it on your radar."

I love ATCQ and it seemed fun so we discussed some details.  It was a bit difficult to execute based on the limited color palette of pushpins but I made it happen. After a few weeks, I did all the finishing touches and delivered it to her new Brooklyn apartment. 

This collector hit me up at the right time, a fun story, and was willing to discuss how to accommodate her budget.  If you are ever serious about a commission, just hit me up. 

http://andrewooleryart.com/CONTACT-ME

[andrewoolery]

"WHAT ARE THE QUOTES ABOVE THE ALI PIECE?"

When I was put to the challenge of painting this icon, initially it was not his face and fights that came to mind but rather his lyricism.  I started to hear all the clever rhymes, intelligent quotes, wild antics, and laughter that came out of his mouth…

I had to portray the barrage of audio bytes bouncing around in my head as part of the visual message. To capture this, each of the vacillating orange/yellow lines behind him represents a collage of his quotables. Above these lines is one sound byte in quotations that resonates the most.  The quote reads “I am the greatest” in morse code. His words in some cases were stronger than his punches and this single quote has been the striking blow that no one has yet to defend against.

[andrewoolery]

HOW LONG DOES IT TAKE TO MAKE A PUSHPIN PIECE?"

I've never actually timed it because it takes considerable amount of time.  Here is a commission I did for my old agency, KBS, that is hanging outside of a conference room. It's a short timelapse that demonstrates the line by line process:

One day I will shoot more timelapse videos and get a better understanding of how long it might take.  Stay tuned.

[andrewoolery]

"A VISUAL ARTIST DISGUISED AS ANDRE WOOLERY" - Interview by ART NOUVEAU MAG

Check it out here:  http://www.an-mag.com/a-visual-artist-disguised-as-andre-woolery/

[andrewoolery]

COLLECTOR STORIES ENTRY #2: ART IS EVERYWHERE...LITERALLY

No place or thing should be void of art and this story illustrates that.  The best part was, I wasn't expecting it...

The story began with an email.  Standard stuff like, "what are the dimensions" and, "how fast can it be delivered". Then the email chain changed into peculiar questions that I wasn't used to:

"How much weight can be placed on top?"

"Can the acrylic glass be made thicker?"

"Does it scratch easily if things are placed on it?"

"Is it printed on top of the glass or behind?"

"Can I screw into the backing?"

I answered all the questions, sent an invoice, received payment, processed the order, the piece is shipped and eventually delivered.

A few weeks later, I get an email with a series of photos that blew my mind.  This customer converted my art into functional art as desks for his home office:

This is genius and incredible.  I am jealous, honored, and impressed by these tables and someday hopefully I’ll make one for myself...

Since then I put an acrylic print as an option if anyone ever wants to do the same thing:  http://shop.andrewooleryart.com/products/erykah-badu

Also if you own a piece of my artwork and have a story to tell, shoot me a note.

[andrewoolery]

"WHAT WAS IT LIKE BUILDING AN ART STUDIO?"

Nothing short of a wild ass ride.

Years ago my wife and I talked about one day having a “Factory" like Andy Warhol.  A space where creativity could flow, where we could experiment with ideas freely and collaboration was easy.  In our minds this was a distant future, but after moving to Jamaica on December 8th, that vision became a reality.

Originally we planned to use space inside my parents house to pursue our endeavors. We quickly realized that this probably wasn’t going to work because although my parents were willing to share their space, there wasn’t much space to share. During a family meeting my dad came up with the idea to build a space. Fortunately there was a bit of free land next to my parent’s home that was perfect to create that space.  By the next day we gathered some skilled workers from the neighborhood, mapped out a budget and starting moving at a rapid pace.

Although the studio was built in rapid pace (about 3 weeks), we still fell victim to the same troubles of most construction projects: we were over budget and off schedule. Here is a timelapse of some photos I caught along the way...

Once the studio was built we were anxious to put the Factory to work, but it wasn’t going to be that easy. The very first day we went to work it started raining and we discovered there was a leak in roof, and just our luck, it didn’t stop raining for 10 days. Instead of letting the creativity flow I spent all of my time managing the flowing waters that felt like the tears I wanted to cry.  On top of that, the closed windows trapped humid moisture in the  studio.  We had to move everything that could get moldy out the studio…more tears. The problems didn’t stop there but we did. The studio that had started with hope had led me to frustration. Luckily we had a trip planned where we were away for a week to rest our minds. When we came back my parents had resolved some of the issues and we had a new resolve.  

In the end, the drama was a blessing in disguise because it forced me to realize that building a factory is more than just building a space. You also have to “build” a space for collaboration, work, and creativity.  Here are some tips I learned for doing that:

Collaborative partners are important: I invited my wife to use the space as her office for her Woolery Kitchen endeavors (http://woolerykitchen.com)

Sit by windows: I felt so much more energy peering out into the natural light and landscape of Jamaica.

Consciously make an effort to make the space inviting: make it comfortable, decorate, and have some snacks. 

Dedicate a space to brainstorming: Maximize your zen.

Organize the space like a conveyor belt: For me I had the space flow from ideation space  to supplies to a prep area followed by my creating space. My desk for office work is completely separate.

Get some wireless speakers poppin’ because music is a muse.

Looking back on the obstacles I realized everything takes time and nothing comes easy.  Art consistently teaches me these lessons and this time was just like all the others.  Like with art you have to step back, look at the piece, then make tweaks to keep moving towards the right vision.

Welcome to our "Factory".

I also got a question "Can I see your setup inside your studio?"  I'll save that for another post because I've already rambled on enough...

Don't forget to follow my journey through Instagram and Facebook.

[andrewoolery]

"ART WORKS." A NOTE FROM NATIONAL ENDOWMENT FOR THE ARTS

A note from the former chairman of the National Endowment for the Arts that sums up a lot of how I feel. If it wasn't for the arts, I would never be able to understand or express my gifts.  Please read this short note:

“Art works.” I have been saying that ever since I was sworn in as chairman of the National Endowment for the Arts, and it remains an absolute truth. Over these past three years, I have been fascinated to engage with our Office of Research & Analysis staff as they dig into the questions of “on whom” and “in what ways.”

Having the arts in young people’s lives is essential; we know that intuitively. Parents sing to their babies, dance with their toddlers, and occupy children with crayons and paper. And there was a time in this country when schools did their parts: bands, choruses, theatricals, and art studios used to fill the days along- side the 3 Rs, gym, social studies, science, and the rest.

But over the past four decades, budget pressures and an increasing focus on just reading and math have crowded the arts out of too many school days. What’s lost? The chance for a child to express himself. The chance for the idiosyncratic child who has not yet succeeded elsewhere to shine. A sense of play, of fun, of discovery.

James Catterall and his fellow authors have shown that something else is lost, too: potential. Students who have arts-rich experiences in school do better across-the-board academically, and they also become more active and engaged citizens, voting, volunteering, and generally participating at higher rates than their peers.

This report is quick to caution that it does not make the case for a causal relationship between the arts and these outcomes, but as a non-researcher, I have no hesitation about drawing my own conclusions.

I firmly believe that when a school delivers the complete education to which every child is entitled— an education that very much includes the arts—the whole child blossoms.

I believe that the only outcomes we should need to measure for a music class is whether the child had the chance to create, enjoy, and understand music. But as the arts are forced to compete for scarce resources, there is no harm in pointing out once again that an investment in the arts will pay extensive dividends.

Art works. Let’s make sure it works for our country’s students.

Rocco Landesman National Endowment for the Arts

[andrewoolery]

WHO IS ON THE HUNDRED DOLLAR BILL IN "IT'S ALL ABOUT THE BENJAMINS"?

This piece doesn’t show in too many places because it is massive. 9 feet x 4 feet to be exact.  But in the moments that it has been on public display, people are drawn to it.  The colors, the size, the symbol of money…it all drives them to inspect a bit closer.  Like clockwork they examine all the pushpins, then the details of the dollar bill and then the questions begin. It's almost guaranteed that within the first 3 questions someone will ask, "Who is that on the bill?"

It is Benjamin Banneker. 

This piece is meant to play with the ideas of currency, the power of the mind and the place that black people hold in United States history. American history represented by the paper we trade is an exclusionary tactic. Benjamin Banneker fought to illustrate that the power of the black intellect is equal to that of the white man's. With this piece I've done just that, I've swapped the importance and power of a white historical symbol with a black one.

I’ve been able to share the story of Benjamin Banneker with so many people that it has led me to focus a lot of pushpin pieces on black history and culture. I realized my art can dust off history to tell stories that remain relevant.  I can blend knowledge and politics in packaging that cuts past any predispositions to allow viewers to take a step closer.  History needs to be preserved and re-expressed for changing generations; art can do that.

More stories about this piece and why Benjamin Banneker is adorned on this hundred dollar bill here.

[andrewoolery]

"IF I PUT A GUN TO YOUR HEAD…INSTANTLY I’M SIGNIFICANT."

I listen to TED talks all the time for inspiration.  One afternoon while formulating my thoughts and painting the "Gun Control" piece, this quote from Tony Robbins confirmed the direction I was going in:

(at 11:53)"Third human need, critical: significance. We all need to feel important, special, unique. You can get it by making more money. You can do it by being more spiritual. You can do it by getting yourself in a situation where you put more tattoos and earrings in places humans don't want to know. Whatever it takes. The fastest way to do this, if you have no background, no culture, no belief and resources or resourcefulness, is violence. If I put a gun to your head and I live in the 'hood, instantly I'm significant. Zero to 10. How high? 10. How certain am I that you're going to respond to me? 10."

The fastest way to get significance is violence. Guns can be a tool for acquiring significance.  Art can also be a weapon to gain significance through expression.  

More about the Gun Control piece.

[andrewoolery]

"WHY DID YOU LEAVE NEW YORK CITY FOR JAMAICA?"

For most emerging artists, living in New York City is a blessing but ironically I had to move to become the artist I want to be.  I was a New Yorker for over 10 years and learned the rhythms of the city, met waves of talented dreamers that occupy the city, and felt like I was headed down the path of contributing to what made New York a special place.  I also began to feel like I was too deep in the Matrix. I was ready to dedicate my life to art but my life was dedicated to too many other things.  I needed a complete break from the conveniences, habits,  expectations, pace, too damn high rent, and anything that prevented me from pressing the reset button on my existence.

Jamaica was the perfect way to reset myself and become a full time artist for several reasons...

TIME was killing my productivity.  I was about to explode with ideas. They were piling up in notebooks, on my phone, sketched out on junk mail, in my mind and I started to see my output falling way behind my thoughts.  Any work I completed was imagined at least 12 months in advance.  For example, I created this Grace Jones portrait in the middle of 2013 but I re-imagined my approach to pushpins 14 months prior...and yes it takes time to create but not that damn long. Time was like a noose around my neck suffocating my creative output.

PUBLIC ART was always an interest but I've never had the opportunity to experiment freely.  I wanted to figure out how to affect community with art but needed a smaller, more tangible community to test.  Jamaica proved to be the right place to create impact without worrying about those flashing lights and sirens.  

My LIFESTYLE would become more balanced. I could live a life that made me more physically active, create tighter bonds with my family in Jamaica, eat healthier food, and focus my mind on creating.

Being GLOBAL is something I aspire towards.  The world is too big, the internet is too far reaching, and plane tickets are affordable enough to strive for a global presence.  Living in Jamaica will give me practice to maneuver regardless of location. Hopefully being further away will open up possibilities and new considerations.

By leaving New York City, I am beginning to slowly break away chains that were tying me down mentally, spiritually, financially, and artistically.  Every step further away feels like a step closer to my truest self and it feels exciting.  Jamaica is granting me a playground for my creativity to flourish and a community to impact.  I view this as an artist residency to acquire more experience, skills and knowledge to move freely and continue to make art that will affect people.

One Love.

Greetings - Half Pint by The Story Of Jamaican Music on Grooveshark

To follow my journey, follow me on Instagram or Facebook

[andrewoolery]

Andre Woolery Wants to Push You to Make Your Passion Your Profession

Check out this #blackmensdossier interview...Always so appreciative to get love and support from good writers, sites and publications.

[andrewoolery]

"What is the script for the Invisible Hieroglyphics video?"

Personally this project sparked numerous long conversations about what art is, society, communication, and digital tech between Victor and myself. After a few iterations, this script got to the essence of what we learned and wanted to express about the project. Here it is (also the track is from one of our favorites, Sebastien Tellier):

Art is everywhere... But it’s not always in a frame. Art is simply the byproduct of human activity, whether by intentional design, or serendipitous encounter. It’s always present, But you have to be watching. Listening. Paying attention. As we continue to digitize our world, the human touch has been downgraded from an instrument of creation, to a tool for navigating various devices. These taps, swipes, pinches, and prints are like human stains on digital interfaces. Left behind to be forgotten, disregarded, and wiped clean. Yet, similar to ancient writings on stone, these ethereal imprints tell the story of our time. They offer insight into our technology driven culture and a new perspective on human interaction and connectivity. These Invisible Hieroglyphics must not be undervalued, for they illuminate the story of how we interact with the modern world.

Invisible Hieroglyphics Microsite

Invisible Hieroglyphics Collection

Invisible Hieroglyphics Prints + Limited Edition Prints

[andrewoolery]

COLLECTOR STORIES - ENTRY #1

Each piece has a story but they also create their own as they travel the world. Every now and then I'll drop a story about people that own my art.  Sometimes it's a personal story from me or sometimes something that has been shared with me.  Here is one from Stephanie Slatt that made my day:

"When I knew I would be moving to NYC for grad school, I was excited at the chance to decorate my own apartment. I have always loved Erykah Badu's music and I set out on a hunt to find the perfect painting of her. I knew I wanted it to be unique and like none other. I was so excited when I found Andre's painting being sold on a gallery website, but when I tried to purchase it, I was told they were no longer selling it and I would have to get in contact with the artist directly. I was a bit disappointed thinking "there is no way this awesome artist is going to reply to my little email about this painting." To my surprise, Andre emailed me back and I was able to purchase one of my dearest possessions. I made my move from Seattle to NYC and the giant box greeted me in my building lobby. I couldn't have been more thrilled that she was the first thing to adorn my tiny NYC apartment. From that nyc apartment to the next, she was the first thing anyone mentioned when they walked in to the space. (As you can see I even refer to her like she is not just a canvas but a person haha) It is safe to say I have bonded with this piece of art. I recently just moved back to Seattle and she was one of the few things that I brought all the way back to Seattle (along with my Eames chair and vintage 1920's lamp). Multiple people have asked to buy her but I truly believe that this painting is one I will own forever. I think back now on how I felt when I swore I would never hear back from this super cool New York artist, and I laugh at myself.  I am so thankful to not only have received a response and a killer painting, but little did I know that nearly 3 years later I would still keep in touch with and be inspired by him."

See more of this piece. Start your own story with this print...

[andrewoolery]

"DO YOU HAVE A BLOG?"

Boom. Here it is.

I made a promise to myself that I will share more in 2014.  This blog is where its all going down. Well not everything but more in depth ideas, thoughts, stories and answers.  I'll post random things but the ongoing theme will be questions asked by you.  That's why it's called "Frequent Asked Questions".  A series of questions I get on the regular at shows, in email, on interviews, and in person. 

So if you have a question, click the "Ask Me a Question" link and I'll answer it. Stuff I've gotten so far like "Are you in Jamaica?" ..."how long does that take?" ..."what's your next piece going to be?"..."where do you get inspiration?"   But don't ask me any BS, I ain't got time for that.

For more on the fly updates about my art and journies... don't forget to follow me on Instagram or Facebook 

See you back here in a few. out.

[andrewoolery]

Everything's about to change...

Country.

Language.

Home.

ATT Bill.

Studio space.

Food.

iPhone apps.

Billing Address.

Driving Side.

Political Parties.

Art.

Income.

Hurricane Potential.

Weather.

Currency.

Pets.

Health Insurance.

Radio.

Culture.

Everything...

except the constant LOVE from family, friends, and supporters of my artwork.  In the midst of all this change, you have all given me the courage to face this moment.  Much love and thank you. 

[andrewoolery]

"Does your Grace Jones artwork actually glow?"

Yes.

The longer you charge it in light, the longer it will glow...can go for up to an hour.  And only the original glows...which is another question I am always asked.

http://www.andrewooleryart.com/Grace-Jones-Natural-Glow