Andy Collins was born on 1971 in Atlanta, Georgia. He did BFA, Atlanta College of Art, Atlanta, Georgia in 1994 and MFA, School of Visual Arts, New York in 1999. Andy Collins’s paintings are lusciously synthetic. Cold and glossy, his large pastel canvases are suffocating vacuums of glamour. Working from fashion photos, Collins’s abstracted forms are derived from the overlooked in-between spaces of supermodel spreads. Folds in fabric, creases in elbows, knees and armpits become a pattern of fetishised contemplation. Their contours are retraced and suggested forms are embellished, creating ethereal motifs that are both organic and electrifying. Collins’s process is one of almost perverse fixation. Taking several months to complete a painting, he painstakingly constructs his airless forms entirely by hand, leaving no trace of brushwork. In Untitled, his biomorphic composition, a sublime vacuous beauty, mesmerises both seduction and emptiness.

Andy Collins’s paintings glow with a transcendental eroticism, bringing about a heightened state of awareness where physical sensuality courts cerebral enlightenment. Inspired by the prurience of fashion adverts, Untitled’s composition construes desire’s lingering remains as a Rorschach-like distortion; a mandala of allurement and absence. Collins conceives overwhelming sensation as an intangible void; his paintings resonate with a voyeuristic proclivity. Equally intimate and distant, his obsessive process (of up to 30 layers of seamless application) infuses his smooth surface with a slick confidence.

Andy Collins’s paintings are models of visual perfection. Approaching painting with a minimalist’s fetishism, Collins hones his canvases to the simplest and boldest statements to capitalise on the power of suggested form. Working from photos, Andy Collins removes the subject, focussing instead on the evocative possibility of implied image. His abstracted patterns retain the essence of their original picture, and extrapolate a more complex interpretation, provoking emotional and spiritual reactions to qualities of surface, colour and composition. In Untitled, Andy Collins presents a pattern of mesmerising consonance. His biomorphic form insinuates bodily tactility; through clinical rendering, Andy Collins elevates these connotations to a metaphysical plane, creating a sensuality that’s idealistic and conceptually pure.

SELECTED SOLO EXHIBITIONS

2005

• Mary Boone Gallery, New York

• Corvi-Mora, London

• Artemis Greenberg Van Doren, New York

2004

• Marc Foxx, Los Angeles

2003

• Marc Foxx, Los Angeles

• Corvi-Mora, London

2002

• Ghislaine Hussenot, Paris

2001

• Marc Foxx, Los Angeles

• Galleria Emilio Mazzoli, Modena, Italy

2000

• Audiello Fine Art, Inc., New York

1999

• Audiello Fine Art, Inc., New York

Conclusions:

Andy Collins’s paintings are models of visual perfection. Approaching painting with a minimalist’s fetishism, Collins hones his canvases to the simplest and boldest statements to capitalise on the power of suggested form. Working from photos, Andy Collins removes the subject, focussing instead on the evocative possibility of implied image. His abstracted patterns retain the essence of their original picture, and extrapolate a more complex interpretation, provoking emotional and spiritual reactions to qualities of surface, colour and composition.

What to Do Next…

If you want any information about Andy Collins or looking for his paintings please visit us on http://www.saatchi-gallery.co.uk/artists/andy_collins.htm

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The parts from the lecturer on the Guide for the perplexed form are an extremely bad letter of recommendation beginning from an outstanding name in Metaphysics to an ordinary Metaphysics aspirant. This is proved by the fact that Maimonides does not inevitably say that metaphysical truths are completely incognizable or even dangerous, but only that it is really dangerous to start with this particular philosophy branch when the aspirant is not yet prepared enough for dealing with it.

A mention has been made to a try to understand similes and prophecies. Although the latter is associated somehow with some Jewish customs, the former can be referred to Plato’s fable of the cave itself, which was actually a demonstration of the philosopher regent, who after getting some metaphysical wisdom comes into the cave where due to wrong opinions, the occupiers are oblivious to the absolute truth. The Plato’s philosopher regent comes back to the cave just because that people may need some assistance but they will just attack you if you try to provide it to them. Maimonidies does not inevitably deny that the younger and the less experienced and smart need to be encouraged to strive for perfection bit by bit and in the end in light of logical argumentation. But he, who decided to start with Metaphysics, will not only become lost in matters of religion, but will fall into ultimate infidelity for the same. He is like a little child who cannot yet digest the food no matter how beneficial it can be. The fact that Maimonides enunciates Plato’s the reason for the scheme of education of a philosopher regent where assortment and curriculum presents the need to study mathematics, sciences and dialectics followed by fifteen years practical experience course leading to getting the title of a Philosopher Regent after passing the above named tests at the age of 40-45, makes him a neo Platonist. There is nothing bad or illegal about such study, the inability of realizing this knowledge of a young and unprepared mind can be really dangerous. Therefore, only an implication of reference to such deep studies such as the title of some particular chapter, and no way the content that reveal those who are able to understanding them. These sciences were named Mysteries, or sodoth and Secrets of the Law , or sitre torah.