Croy Nielsen

Andy Boot

C C

28. 11. 2014 – 14. 2. 2015

Images

Andy Boot, installation view C C, 2014 – 15

Andy Boot, installation view C C, 2014 – 15

Andy Boot, installation view C C, 2014 – 15

Andy Boot, installation view C C, 2014 – 15

Andy Boot, installation view C C, 2014 – 15

Andy Boot, installation view C C, 2014 – 15

Andy Boot, South Beach (Kemosabie) 1, 2014, concrete, UV-print on metal mesh, metal, 150.5 × 60 × 33 cm

Andy Boot, South Beach (Kemosabie) 1, 2014, concrete, UV-print on metal mesh, metal, 150.5 × 60 × 33 cm

Andy Boot, Paris (cybertrips) 2, 2014, concrete, UV-print on metal mesh, metal, 155.5 × 50 × 28 cm

Andy Boot, Paris (cybertrips) 2, 2014, concrete, UV-print on metal mesh, metal, 155.5 × 50 × 28 cm

Andy Boot, installation view C C, 2014 – 15

Andy Boot, installation view C C, 2014 – 15

Andy Boot, Heartland (aka Jeff) 1, 2014, concrete, UV-print on metal mesh, metal, 134.2 × 40.6 × 45 cm

Andy Boot, Heartland (aka Jeff) 1, 2014, concrete, UV-print on metal mesh, metal, 134.2 × 40.6 × 45 cm

Andy Boot, South Beach (Kemosabie) 2, 2014, concrete, UV-print on metal mesh, metal, 127 × 31.6 × 45 cm

Andy Boot, South Beach (Kemosabie) 2, 2014, concrete, UV-print on metal mesh, metal, 127 × 31.6 × 45 cm

Andy Boot, Heartland (frankn) 1, 2014, concrete, UV-print on metal mesh, metal, 163.9 × 45 × 30 cm

Andy Boot, Heartland (frankn) 1, 2014, concrete, UV-print on metal mesh, metal, 163.9 × 45 × 30 cm

Andy Boot,  Heartland (CASA DE DAVI) 1, 2014, concrete, UV-print on metal mesh, metal, 142.4 × 86 × 21 cm

Andy Boot, Heartland (CASA DE DAVI) 1, 2014, concrete, UV-print on metal mesh, metal, 142.4 × 86 × 21 cm

Press Release

The letter C has a pleasant and simple form — basically a round shape or circle,
opened on one side. Its doublet, CC, in common contemporary use, is a
function in e-mail programs to co-send to multiple recipients. The name derives
from the old analog technique of the carbon copy, referring to a usually bluepigmented
paper that was used to copy a handwritten or typed action, an individualized
and simple method of reproducing. Considering the existing abbreviations
in digital media, CC could also stand for the Spanish/​Italian double affirmation
Si, Si,” either showing deep approval or disregard.

Andy Boot is a stoic artist, with a finely tuned and reduced output, in which
time and again patterns loom large. A pattern is a discernible regularity,
where forms, symbols, and colors repeat in an anticipated manner. What underlies
the pattern, what shapes its character and interval, would be its grid. A
bigger part of Boot’s work circles around those patterns, or symptomatic surfaces
say — forms, symbols, shapes, and colors appearing on the skin of things,
and the reasons that bring them there.

In his current show at Croy Nielsen, Boot deals with patterns carried out by
scrap-like objects. The patterns, building the chorus of this show, appear on
printed metal sheets. They are rooted in the customized backgrounds of Geo–
Cities, a former Web host for personalized homepages. GeoCities peaked at the
end of the nineties, in sync with the dot-com bubble, was acquired by Yahoo!,
and collapsed in 2009, by which time Myspace and, finally, Facebook had already
taken over. Many of the sites came in a digital, collage-like 90s look, garnished
with GIFs, and still haunt the Web today as retro chic. For its time,
GeoCities had a symptomatic, simplified logic, divided into sections or neighborhoods,”
with themes of professional and private everyday associations, that
were reinterpreted, such as Capitol Hill” as a political section, Vienna” as
the classical music area, Pentagon” and so on.

Some of the patterns used as backgrounds for the sites mirror the themes; other
ones are just abstract, colorful, and pixelated. An arbitrary selection of six
of them are to be found in the show, taken from an actual online archive showing
a cross section of former sites. Flipping through this — of the millions of
sites, only hundreds were archived — some of them have a professional intent,
e.g., private car rentals. Many of them are quite random attempts, ranging from
Black Ninjas, Winnie the Pooh, and a high amount of fantasy related contents or
just blog-ish personal introductions involving cats and dogs.

Boot manufactured sculptures with fine fabric-like, metal grids, quite carelessly
bowed and dipped into concrete rectangles. We see groupings and constellations
of these handbag-sized objects, like roughly crafted hints on classic
pop cultural clichés of a matrix,” where animated things evolve from woven
digital grids. But for a more analog observer, the objects could also just remind
you of tissue boxes changing shape every time you pull.

Benjamin Hirte

Images

Andy Boot

C C

28. 11. 2014 – 14. 2. 2015
Andy Boot, installation view C C, 2014 – 15

Andy Boot, installation view C C, 2014 – 15

Andy Boot, installation view C C, 2014 – 15

Andy Boot, installation view C C, 2014 – 15

Andy Boot, installation view C C, 2014 – 15

Andy Boot, installation view C C, 2014 – 15

Andy Boot, South Beach (Kemosabie) 1, 2014, concrete, UV-print on metal mesh, metal, 150.5 × 60 × 33 cm

Andy Boot, South Beach (Kemosabie) 1, 2014, concrete, UV-print on metal mesh, metal, 150.5 × 60 × 33 cm

Andy Boot, Paris (cybertrips) 2, 2014, concrete, UV-print on metal mesh, metal, 155.5 × 50 × 28 cm

Andy Boot, Paris (cybertrips) 2, 2014, concrete, UV-print on metal mesh, metal, 155.5 × 50 × 28 cm

Andy Boot, installation view C C, 2014 – 15

Andy Boot, installation view C C, 2014 – 15

Andy Boot, Heartland (aka Jeff) 1, 2014, concrete, UV-print on metal mesh, metal, 134.2 × 40.6 × 45 cm

Andy Boot, Heartland (aka Jeff) 1, 2014, concrete, UV-print on metal mesh, metal, 134.2 × 40.6 × 45 cm

Andy Boot, South Beach (Kemosabie) 2, 2014, concrete, UV-print on metal mesh, metal, 127 × 31.6 × 45 cm

Andy Boot, South Beach (Kemosabie) 2, 2014, concrete, UV-print on metal mesh, metal, 127 × 31.6 × 45 cm

Andy Boot, Heartland (frankn) 1, 2014, concrete, UV-print on metal mesh, metal, 163.9 × 45 × 30 cm

Andy Boot, Heartland (frankn) 1, 2014, concrete, UV-print on metal mesh, metal, 163.9 × 45 × 30 cm

Andy Boot,  Heartland (CASA DE DAVI) 1, 2014, concrete, UV-print on metal mesh, metal, 142.4 × 86 × 21 cm

Andy Boot, Heartland (CASA DE DAVI) 1, 2014, concrete, UV-print on metal mesh, metal, 142.4 × 86 × 21 cm

Press Release

The letter C has a pleasant and simple form — basically a round shape or circle,
opened on one side. Its doublet, CC, in common contemporary use, is a
function in e-mail programs to co-send to multiple recipients. The name derives
from the old analog technique of the carbon copy, referring to a usually bluepigmented
paper that was used to copy a handwritten or typed action, an individualized
and simple method of reproducing. Considering the existing abbreviations
in digital media, CC could also stand for the Spanish/​Italian double affirmation
Si, Si,” either showing deep approval or disregard.

Andy Boot is a stoic artist, with a finely tuned and reduced output, in which
time and again patterns loom large. A pattern is a discernible regularity,
where forms, symbols, and colors repeat in an anticipated manner. What underlies
the pattern, what shapes its character and interval, would be its grid. A
bigger part of Boot’s work circles around those patterns, or symptomatic surfaces
say — forms, symbols, shapes, and colors appearing on the skin of things,
and the reasons that bring them there.

In his current show at Croy Nielsen, Boot deals with patterns carried out by
scrap-like objects. The patterns, building the chorus of this show, appear on
printed metal sheets. They are rooted in the customized backgrounds of Geo–
Cities, a former Web host for personalized homepages. GeoCities peaked at the
end of the nineties, in sync with the dot-com bubble, was acquired by Yahoo!,
and collapsed in 2009, by which time Myspace and, finally, Facebook had already
taken over. Many of the sites came in a digital, collage-like 90s look, garnished
with GIFs, and still haunt the Web today as retro chic. For its time,
GeoCities had a symptomatic, simplified logic, divided into sections or neighborhoods,”
with themes of professional and private everyday associations, that
were reinterpreted, such as Capitol Hill” as a political section, Vienna” as
the classical music area, Pentagon” and so on.

Some of the patterns used as backgrounds for the sites mirror the themes; other
ones are just abstract, colorful, and pixelated. An arbitrary selection of six
of them are to be found in the show, taken from an actual online archive showing
a cross section of former sites. Flipping through this — of the millions of
sites, only hundreds were archived — some of them have a professional intent,
e.g., private car rentals. Many of them are quite random attempts, ranging from
Black Ninjas, Winnie the Pooh, and a high amount of fantasy related contents or
just blog-ish personal introductions involving cats and dogs.

Boot manufactured sculptures with fine fabric-like, metal grids, quite carelessly
bowed and dipped into concrete rectangles. We see groupings and constellations
of these handbag-sized objects, like roughly crafted hints on classic
pop cultural clichés of a matrix,” where animated things evolve from woven
digital grids. But for a more analog observer, the objects could also just remind
you of tissue boxes changing shape every time you pull.

Benjamin Hirte