About Andy Vogt
Andy Vogt grew up in the suburbs of Washington DC and attended Carnegie Mellon University where he earned a BFA in Intermedia, a program focused on time based media, performance and installation. He lived in Pittsburgh, PA until 2000. Since then, Andy lives and works in San Francisco, California.
His current work using reclaimed wood from demolished buildings, started in 2004, a few years after moving to San Francisco. His first solo show was in 2006 at ampersand international arts in San Francisco’s Dogpatch district.
Since then, his work has been exhibited nationally and locally including solo shows at Eli Ridgway Gallery, Hap Gallery (Portland, OR), Southern Exposure, The Museum of Craft and Design and Ampersand International Arts. Group exhibitions include Headlands Center for the Arts, San Francisco State University Art Gallery, Swarm Gallery and Adobe Books Backroom Gallery. In 2010, he was an artist in residence at Headlands Center for the Arts.
My work takes the upheaval of demolition and the un-making of spaces as a starting point. My primary material has been salvaged wood lath, the interior skeleton of pre-World War II buildings that holds plaster on their aging walls. As a material, it is ubiquitous in San Francisco. Nearly 90% the city of it is interlaced with these humble sticks that have been in suspended animation since at least the 1940’s, if not the 1840’s. As a natural material, it’s a relic of a long-gone type of harvest, that which saw old-growth forests felled for previous building booms. Trees that may have been nearly 600 years old could have contributed some of these small splintery lath boards; that would make them nearly 800 years old today when they are ripped off the wall during demolition and tossed in a dumpster.
The combined contexts of this material is a compelling inspiration for me to find new forms within it. I consider most of my flat wood sculpture as a type of drawing, based on the inherent characteristics of the material and the acquired context that it gains, post demolition. With this in mind, I have produced architecturally inspired works that exist between the physical (sculptural) and the imagined (drawn).
More recently, I have developed new work where the lath has become an actor in making the works, but a phantom presence in the final resulting pieces. This has included using the lath as form boards for casting shallow concrete slabs and using it to produce shadow prints of sculptures on fabric. These tangents and new media inspire me to further develop my practice.