The North Dakota boys are always churning, changing forms, colors, and moods. Constantly being wiped away and painted over, again and again.
They represent the disconnect involved with living in sparsely populated areas of the United States. Those living in more populated regions often don’t have time for them or their opinions. They have unique voices but their voices are not heard. They are messy but beautiful in their own way.

This solo exhibition by multimedia artist Andrew Dubach, was created using a strong emphasis on instinctual process and was primarily dictated by spontaneity and experimentation. Extensive planning was limited to keep the painting, primarily comprised of portraits, in a continuous state of alteration. The works included were constantly modified with various media and found objects, often worked over and tweaked for months or years. 

North Dakota Boys

Gods Overhead is an art/sound/text exploration on drone warfare by the United States Government and its subsequent use in civilian business endeavors. It incorporates the work of three different artists, Andrew Dubach, Armin Stańczyk and Kurt Roembke. 

The visual art exhibited in this project was made by Andrew Dubach, using the cut-up technique popularized by William Burroughs. This technique is similar to the processes used by the artists of Dada, but in this case, incorporating modern technology thorough use of computer and printer. The creation of the work was made using a Laser Jet printer to collage chosen images with minimal control over placement. Images and text relating to drones, military or otherwise, are printed and layered creating narratives through imagery, contrasting American life and life in war-torn countries where military drone programs are present. The printed images were inserted into the printer repeatedly creating an abstracted digital printer collage.

Gods Overhead

Copula is a multisensory exhibition comprised of sculptures by Andrew Dubach, and interpretive soundscapes produced by composer Kurt Roembke. Each  3d object was made as a response to the soundscapes and vice versa, creating a dialogue between the two mediums. The sculptures feature mixed media and found objects created with a strong emphasis on color and spontaneity. The sound pieces were produced by sampling every day noises edited with modern digital techniques thereby creating organic and unfamiliar soundscapes. This is done to mirror Dubach’s sculpting technique of mixing recycled and “familiar” objects with “foreign” use of texture and color modification. Every sculpture has a pair of headphones located next to it, enabling the participant to experience art through both auditory and visual senses.


Copula

My paintings intersect digital media with manual image transfer techniques, normally used for small craft projects. The image transfers create an archaic worn effect to the digital image and allow for chance occurrences in the process that are rarely found in traditional painting or digital artwork. The time needed to complete a single painting can take several months, or in certain paintings, multiple years of trial and error to complete. The area of the process that interests me most is the “unknown” that happens in-between how the finished painting looks versus how it was originally intended to look. This block of time is full of risk taking and and erasing past marks and transfers to create a memory of impasto and digital imagery below the surface.

Ghost Army

A "work in progress" series influenced by the works on the Romantic landscape painter, John Constable.

My recent painting “My Friend Constable” centers around my rediscovery of the natural world and the appeal, as well as the dangers of isolation. I’ve recently become nostalgic for nature and solitude, both of which I’d experienced much of during childhood but have since neglected in adulthood. During the pandemic, I’ve been forced into isolation, as all non-essential workers have, only escaping my home to buy groceries, hike and experience nature in the small parks and nature preserves nearby. 

As I’ve spent my adult life living and working in urban and residential areas, my love for sprawling landscapes in both the real world as well as in painting has continually increased. The paintings of the 19th Century English Romantic painter, John Constable have been especially appealing as of late. His respect for calm rural landscapes, natural scenic beauty, and solitude of a bygone era are captivating. Rarely does one find more than a few people in his paintings, making them strangely familiar to the current crisis. While Edward Hopper’s paintings have become popularly associated with the current lockdown through memes and essays, Constable’s seem to lack the loneliness of Hopper’s and celebrate the space, even though people are rarely featured within his pictures. 



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