Words by Flora Macdonald Johnston
The first thing you notice as you enter into 21-year-old Isaac Andrew’s studio is the rich smell of oil paint. “Some people hate it,” laughs Andrews as he welcomes me into his bright space, right in the heart of Clapton.
As Andrews sat down opposite, dressed in paint splattered black jeans and plain white t-shirt, I took stock. Andrews’ studio is surprisingly neat for someone juggling university (he starts his third year at Chelsea Art School in a few days), creating collaborative artworks (he tells me has 25 t-shirts to create for NIKE x Serpentine x New Currency by 10am tomorrow morning, and, earlier this year he was commissioned by Miu Miu) and of course like any early 20 something - Andrews has an avid social life.
Despite this endless juggle, the room is filled with objects in a categorized order, a stack of vinyls featuring records by Sampha, Miles Davis and Gil Scott Heron sit upon his desk, there are tonnes of art books lined up neatly within a bookcase (many second hand from his favourite bookshop Marcus Campbell Art Books near the Tate Modern), there's a rolled up yoga mat in a corner, tools, paint, pots of brushes and of course - his incredible paintings large and small, which line the studio walls, all, but one…
“That’s going to be the largest painting I've ever made, a funeral scene of everyone hugging and embracing,” says Andrews when I ask about the gigantic washed canvas sheet. How long will it take? “I don’t know, I never know really, I will have to see as I go,” he says with a smile.
Over the last few years, Andrew's work, like the man himself, has evolved. When first gaining recognition within art community, collaborating with the likes of Converse and NIKE at the age of 17, Andrew’s works were fluid, mix media, and more collaged, however, the paintings today have a new signature, they are figurative, stylizsed and all painted with a beautifully muted palette which he says is like “burnt amber”.
“I think my art has definitely evolved, it is more refined, I’ve really worked on certain aspects and I’ve become interested in drawing people, mothers and children, hands and flowers. I like the ‘humanness’ of it for want of a better word.”
Andrews has always explored social aspects of society within his work, and how they reflect our notions more broadly, he has also never shied away from the fact that many are political. Behind him as we chat is a painting of a prison inmate, black and white striped pajama uniform taking much of the canvas space, the facial expression is calm, serene, perhaps also a little sad.
“I see my paintings like memories, or snippets of a film, depicting moments in time and life. The inmate painting, it’s a comment about freedom, in america as well as the numerous problems with the judicial system. That’s what I mean about the human aspect of my work, portraying something that could be seen in one light, in another. The colors I use almost give a sense of nostalgia on what is quite an abrasive topic. I could have used something super bold, but I like how the color allows your brain to actually think, to form a feeling and an opinion. I think you know your work has affected someone if it makes them feel, even if it’s just a thought to call their mum, your work affected them.”
Perhaps this filmlike nostalgia has something to do with the fact Isaac was a child actor? “Maybe”, he says, “I think it’s influenced my creativity for sure. You have to really embody and feel each character you play and I imagine that when I paint, I really try to feel what that person is feeling or understand their point of view.”
On the subject of point of view, I ask about the FRIEZE art fair, which presently, is only a week away. For some, FRIEZE can feel like an overblown hype exercise, benefiting only bluechip galleries, for others it's an opportunity and helps to democratize art for a wider audience.
“For me, I think it’s a good thing, ultimately showing more art to the world is a positive. I guess the downside is that it’s very high level art for buyers, and galleries that can afford the £30,000 booth fee, the great that’s fine they can probably make that money back by selling an item. It’s more difficult for independent galleries who might group together and then who only sell £5,000 worth of art where the issue can become bigger.”
“For large galleries it would cost £10,000 to even hire a space, so of course, for students, for young people that’s obviously not going to happen. But, it doesn’t take much for large brands to invest in young artists, one night for a show for young artists, what is that to them? Nothing.”
What about the system for emerging artists? “There’s nothing for emerging artists,” says Andrews flatly, “the industry is not built that way yet. Even the contemporary art fair for emerging artists is only open to those who studied at school, and you have to pay to apply..it marginalizes many. But the thing is there just aren’t any other alternatives.”
Andrews has often spoken about the financial difficulties for young artists, as well as having to self fund many of his own projects. In an attempt to break an old system, Andrews started his own exhibition Collectivist which helps to give emerging designers the opportunity to be featured for free within a gallery space. Earlier this year, Andrews hosted its second iteration Collectivist II at Deptford Market Yard once again spotlighting the work of emerging artists, regardless of their education or art-world hype, and forging a “sense of unity, community, and coming together”. Joining some of the names from his previous show were the likes of Athene Club cofounder Zaineb Abelque, Amber Pinkerton, Teoni, TJ Saw, Sam Wootton, and Joy Yamusangie. The show was ultimately a great success, rapper and Glastonbury headliner Little Simz even bought work, so that sums it up pretty nicely.
Andrews has big ambitions for where to take Collectivist; “I would like to start my own gallery and travel around the world showcasing emerging artists in exhibitions in key cities, that would be amazing.”
What is next for Andrews? “I am working on scriptwriting a film with my friend actually,” he says. This feels very full circle with the acting I state; “I guess it is,” he says with a laugh, “it’s been a great process so far although I have to draw out my scenes and ideas to my friend who then writes what I have depicted.” A future director, artists and gallerist? “I think so!” he says with a wink, and with that it’s time for us to leave, after all, Andrews has a 10am deadline and 25 t-shirts to make.
