Vanishing Point
— Monument Valley Dead Horse Point Grand Canyon —

Upturned relief patterns, sculpted out by the wind, water, and ice, dragging you down into the whirlpool of time, into the remorseless eternity of a slow-motion catastrophe. The very idea of the millions and hundreds of millions years that were needed peacefully to ravage the surface of the earth here is a perverse one, since it brings with it an awareness of signs originating long before man appeared, in a sort of pact of wear and erosion struck between the elements. Among this gigantic heap of signs - purely geological in essence - man will have had no significance.
—   Jean Baudrillard, America, 1986

The perception of time by humans and the quality of light in space have a predominant importance in my sculptures and installations which investigate the complex relationship between humankind and its environment, and resonates with contemporary reflections led to determine a new ontology in the age of the Anthropocene.

I have been interested in the intense geological energy of the earth, and man’s ability to transfer nature into its new states and materials.  I seek to convey the element of monumentality as a metaphor for the “degree of perfection” that humans strive for, along with the knowledge and dangers discovered in Man's quest to become “master and possessor” of nature.  

Although the broader context of the work is focused on landscape, its literal and metaphorical measurement of time, and the collective consciousness, the material identity of glass has been a central and starting point for most of my work. One of the aspects of glass that I find the most relevant is its ability to capture and display time. In the glass-blowing process, the difference between a piece cracking or melting can be a few seconds. When glass is in its molten state it is almost like a living organism. It produces heat, it moves, it radiates light, as it cools down it cracks and dies. The glass can then get re-melted and re-incarnated into its next form.

In Prehistoric Paintings: Lascaux or the Birth of Art, Georges Bataille refers to a form of transcendental experience explored by artists in their creation process: “to create a sensible reality whereby the ordinary world is modified in response to the desire for the extraordinary, for the marvellous”. I seek to explore the inherent conflict of an expanding industrialization in which nature strives to survive, and to open a space in which there is no boundary between nature, art and magic.


Andrew Erdos, (b. 1985) graduated with a BFA from Alfred University. He has been the subject of solo exhibitions at Claire Oliver Gallery in New York, with Invaluable (2015) and Guaranteed Impermanence (2013). The youngest recipient of the Rakow Commission of the Corning Museum of Glass, his work has been exhibited worldwide and throughout the United States. Notable group exhibitions include Piece by Piece at the Kemper Art Museum, Kansas City (2015); Glass Today: 21st Century Innovations at the New Britain Museum of American Art (2014); Facets of Modern and Contemporary Glass at the Knoxville Museum of Art (2014); Color Ignited: Glass 1962-2012 at the Toledo Museum of Art (2012); Cyberfest at The State Hermitage Museum in St Petersburg (2009), Art Parade at Deitch Projects in New York (2008), and Insatiable Streams at Beijing BS1 Contemporary Art Center in Beijing (2007). 

Erdos’ work can be found in the permanent collections of the New Britain Museum of American Art; the Toledo Museum of Art; the Knoxville Museum of Art; the Corning Museum of Glass; the 21c Museum in Durham, and the Chazen Museum of Art in Madison. Andrew Erdos lives and works in New York City.

E-MAIL
contact@andrewerdos.com