Andrea Bergart

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Artist Statement

Two current bodies of work—paintings made in my studio and those done on cement truck barrels—operate with varying tenor but a similar intention: to explore the endless variations of design, color, and form in the urban landscape, and reference the human condition in the midst of urban decay and fecundity.

My studio work samples visual information from my daily environment in New York. I’m drawn spontaneously to details while walking the streets, riding the subway, and playing basketball on the courts. Cracks in the sidewalk, mysterious liquids in the gutter, metallic wrappers, sun-faded signage of store windows, and subway track debris. Textures, color relationships, and patterns inform my studio practice and reference the collective psyche and trace of human activity in urban landscapes.

My painting practice is largely intuitive, informed by an array of traditional processes. After spending a year living in Ghana, I adapted the batik dyeing technique into my work. Using resists such as wax and masking fluid, drawing elements are preserved while colors are pooled in layers of complex, multicolored designs. In this way, an image forms in reverse; I begin to forget about hidden layers until the last step of unveiling. Consequently the painting surfaces mimic the human form. The act of revealing earlier masked layers is like picking at scars and peeling skin. The resists charge the painting with potential energies; and I consider my work to build and release these energies stored within.

In addition to my studio-based work, I paint murals on the rotating barrels of cement truck mixers. This project began shortly after watching the New York City graffiti documentary “Style Wars” and living and painting in West Africa, where people paint on everything: walls, busses, trucks, houses, signs. Painting on cement trucks is an extension of this way of thinking about images in public spaces.

Cement trucks were alluring to me for their interesting shapes, which rotate as they move. Not only that, but their physical mass gives them a palpable presence, and on a practical level, they have an unbroken surface area to paint. I wanted to play with contrasting an energetic, colorful, and playful composition on such powerful machinery. This has brought a wider audience and new dimension to my work.

Challenging variables become integral to the artwork, such as the speed at which the viewer experiences the full image and the nature of the evolution of the image. For example, in “Paper Clips” (image 19), the blue and peach areas expand and contract as the barrel rotates, while in “Kente Mix” (image 16), the motif expands horizontally then diminishes until it disappears into a void, after which the process begins again. Viewers are denied the experience of seeing the full image all at once and must create the totality in their minds.

These public images reference fashion trends and pop culture. Unlike the more layered studio work, I compose these pieces in order to achieve swift impact, whether viewed at a distance or from a brief encounter on the street. While most public imagery relates to advertising, I wish to insert an artistic image in an unexpected place for the public to experience as a human beings rather than consumers.

In both bodies of work, forms become signifiers of our own patterns, designs, and interactions. Some are images we create, as those put back on the cement truck, and others, almost unbidden, arise from the city’s daily life. My work reaches the inner and outer worlds that our psyche floats in between.


2009 Fulbright Scholar, Ghana, West Africa
2008 M.F.A., Painting, Boston University, Boston, MA
2006 B. A., Painting; Minor Art History, Skidmore College, Saratoga Springs, NY
2004 School for International Training (SIT) Ghana, West Africa
2004 Studio Art Centers International (SACI) Florence, Italy

2015 “Andrea Bergart” The Stephen and George Laundry Line, Ridgewood, NY

2015 “Painting Problems”, Andrea Bergart, Jason Karolak, Benjamin Edmiston, Cuevas Tilleard Projects, NY, NY
2014 “Grimey Rhymes” Andrea Bergart + Sheryl Oppenheim, City Limits Gallery, Oakland, CA

2015 “Sunset Overdrive” Curated by Robin Kang, The Tree House Gallery, NY, NY
2015 “De Colores” The Dorado Project, The Buggy Factory, Brooklyn, NY
2015 “Yin Yang” 99 Cent Plus/HJGS , Brooklyn, NY
2015 “Jewel”, Norte Maar Gallery at Schema Projects, Brooklyn, NY
2014 “Two River”, One River Gallery, Curated by Tamara Gonzales, Englewood, NJ
2014 “Jam 3”, Steven Harvey Fine Arts Projects, NY, NY
2014 Vault Series: “Jam II”, New Bedford Art Museum, New Bedford, MA
2014 “Make/Shift”, Folioleaf Gallery, Brooklyn, NY
2014 “Genesis Forward Battery”, HKJB, Underdonk Gallery, Brooklyn, NY
2013 “Location Location Location”, President Clinton Projects, Brookly, NY
2013 “Digital Dye Hard”, Ortega y Gasset Projects, Ridgewood, NY
2013 “Thanks” Curated by Adam Parker Smith, Lu Magnus Gallery, NY, NY
2013 “25 Artists” Ste. 217, 56 Bogart, Brooklyn,NY
2012 “Pledging our Love to the Ground”, The Do Right Hall, Marfa, TX
2012 “The Jam” Steven Harvey Fine Art Projects, NY, NY
2012 “Swing Swang Swung” 245 Varet St, Brooklyn, NY
2012 “Post Acid” Small Black Door Gallery, Ridgewood, NY
2012 “Scope Art Fair”, Steven Harvey Fine Arts Project, NY, NY
2012 “Fountain Art Fair”, Bushwick Gallery, NY, NY
2012 “Mushroom Universe” Bushwick Gallery, Brooklyn, NY
2011 “Freestyle” Ridgewood, NY
2011 “Human Resources” Ridgewood, NY
2011 “Purple Nurple” Pioneers of Inspiration, Brooklyn, NY
2011 “So Happy Together” Norte Maar Gallery, Brooklyn, NY
2010 “Keep the Home Fires Burning” Fowler Arts Collective, Brooklyn, NY
2010 “Thirteen Under Thirty” The Young Guns, Rubin-­‐Frankel Gallery, Boston, MA
2010 “Oil + Water” Steven Harvey Fine Art Projects, NY, NY
2010 “Boston University Incite Exhibition” Denise Bibro Fine Art, NY, NY

2014 NYC Department of Transportation, Metropolitan Ave. and Freshpond Rd. Commission
2013 Puffin Foundation Grant, Cape Town Mural Project
2013 Queens Art Fund Grant, NYC Dept. of Cultural Affairs Arts Development Fund
2011 Puffin Foundation Grant, Accra Mural Project
2009 Fulbright Scholarship
2006 Jesse Solomon Painter Award
2005, 2006 Student Opportunity Fund, Skidmore College

2015 Josef and Anni Albers Foundation “THREAD” Artist Residency, Sinthian, Senegal
2011-­‐2012 Chashama Artist in Residence

2015 “Jewel”, Norte Maar Gallery at Schema Projects, co-­curated with Jason Andrew, Brooklyn, NY
2011 “Freestyle” Joe Ballweg’s Studio, Ridgewood, NY
2011 “Human Resources” Joe Ballweg’s Studio, Ridgewood, NY

“Artist Andrea Bergart Keeps on Duckin”, Opening Ceremony, Cecilia Salama
“This Street Art Lives on Rotating Cement Trucks” The Creators Project VICE, Nathaniel Ainley

“Andrea Bergart” Ghost Robot : Grand Quarterly, Nick Bentgen
“Turning concrete trucks into swirling, spiraling works of art” Esprit Magazine, Andrew Thurston
“On the Edge: ‘Grimy Rhymes’ at City Limits” NPR KQED, Sarah Hotchkiss
“Wall-­‐to-­‐Wall : Andrea Bergart” All Day Every Day, Ken Miller

“8 Great Brooklyn Artists Under 30” The L Magazine, Paddy Johnson
“Super fun patterns and murals from artist Andrea Bergart” It’s Nice That , Liv Siddall
“The idea behind the razzle dazzle truck” The Queens Chronicle, Josey Bartlett

“A Cement Truck into a Lisa Frank Sensation” Bushwick Daily, Katarina Hybenova
“Artworld NYC: Andrea Bergart” Satellite Magazine, Sarah Wesseler
“Pearl Beads of Andrea Bergart” Bushwick Daily, Katarina Hybenova

“Andrea Bergart, Ghana Fulbright Interview” Fulbright