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Andrew Moszynski

Gasworks presented a wall painting and a series of works by the New York artist Andrew Moszynski.

Dub High Eye Buffalo Strap Bouncing Chocolate Dandy Space was painted directly onto the wall and conceived specifically for gasworks. Moszynski used references to pop concerts and advertisements (such as the page layout in the NME) to address the ideas of cliques and clans through a skewed modernist vocabulary. The artist employs forms of visual communication outside the painting, using collective experience and structure drawn from signs and diagrams as a means of locating and structuring the viewer. Born in the UK of English parents, Andrew Moszynski grew up in Argentina and has lived for many years in New York, where his work is in the collection of the Metropolitan Museum of Art.

"Moszynski's work questions surface seduction - the way that for instance a lozenge shape currently identifies ads and Internet designs as 'cool' regarding less of the commodities they promote. The work also seems to critique modern painting, as well as advertising"
Time Out

Andrew Moszynski

Gasworks presented a wall painting and a series of works by the New York artist Andrew Moszynski.

Dub High Eye Buffalo Strap Bouncing Chocolate Dandy Space was painted directly onto the wall and conceived specifically for gasworks. Moszynski used references to pop concerts and advertisements (such as the page layout in the NME) to address the ideas of cliques and clans through a skewed modernist vocabulary. The artist employs forms of visual communication outside the painting, using collective experience and structure drawn from signs and diagrams as a means of locating and structuring the viewer. Born in the UK of English parents, Andrew Moszynski grew up in Argentina and has lived for many years in New York, where his work is in the collection of the Metropolitan Museum of Art.

"Moszynski's work questions surface seduction - the way that for instance a lozenge shape currently identifies ads and Internet designs as 'cool' regarding less of the commodities they promote. The work also seems to critique modern painting, as well as advertising"
Time Out