Studio A.H. is the art and research practice of Andrew Herzog. In an effort to establish an 

creative technology, graphic, and interaction design

 with Art, each other, and our world amid the 

A Communal Line 

This and/or That? (HERE/ICI)

Circle Or Curve?

Finally, An Impermanent Human Intervention (Maine)

Blue Sky Or Sky Blue? (Philadelphia)

A Communal Line – ATL

Blue Sky Or Sky Blue? (Oregon)

Circular Exercises

A Communal Line, 2022

Heavier Than We Can Lift (Boulders)

A Communal Line is a film realized in collaboration with the residents of São Miguel island. The film, which takes place over the course of a day, shows the aggregation of a walking line starting with one, building to twelve, and ultimately dissipating–traversing the landscape in all its forms. A voice-over narration spoken in Portuguese is an amalgamation of the artist’s ruminations, references to writings, and intimate conversations with Azorian residents.

Today we are between the rock and a hard place. We exist during the Anthropocene. A geological epoch marked by human activity becoming the dominant influence on climate and the environment. Amongst the many concerns and inquiries into our situation is the question of the health of our earth. As we rapidly move from the throws of late-stage capitalism to the enthusiastic reinstating of the proverbial “reduce, reuse, recycle,” anthem our future remains uncertain. Things have to come from somewhere–but where do they come from? Our daily lives have become so smooth that we rarely, if ever, see the making part of the things we enjoy. Yet the making part of everything we’re surrounded by and the conveniences they afford come at a cost. The body of work, “The Situation We Find Ourselves In” is a series of paintings of rocks made of rocks. The paintings are made using only ground rock pigment and water. Similar to the glacial movement of rock, the flow of water, not the artist's hand, moves the pigment around the paper ultimately settling–reanimating the rock. In a circular journey, these rocks go from heavy to a nearly weightless flat representation of themselves. This manifestation of the rock's existence, stuck to paper behind glass, will be but a blink of an eye in its life span. Just as our time here on earth, watched by the rocks, has the potential to be.

The Situation We Find Ourselves In (Composition 4)

Painting a rock with sea water changes the color of the rock to a darker shade while the rock is wet. Ultimately, this ephemeral exercise is futile as the sun warms the rock and causes the water to evaporate turning the rock back to its original color. 

Geological Time Slices

 offers an interactive experience made possible by static media. While the words represent French /English binaries, the viewer's ability to reveal each word as they move around the piece illustrates the impossibility of binary constructs and the multitude of linguistic realities in between HERE and ICI. HERE/ICI is a permanent sculpture commissioned by the SCAD Museum of Art for SCAD Lacoste's Promenade de Sculpture. 

The Situation We Find Ourselves In (Composition 5)

Ryan Gendron

Blue Sky Or Sky Blue? is a physical exercise of Herzog’s concept - “prioritized sight.” Valuable, yet malleable, prioritized sight is how we choose, consciously or unconsciously, the things we see; what we engage or empathize with; and what we understand or misinterpret, with varying degrees of implication. The installation consists of four large-scale mirrored structures. Each mirror is elevated at a forty-five-degree angle to reflect the sky. The mirror’s surface contains a subset of blue dots. As viewers walk through the installation, viewing the sky from different perspectives, the structures are used as instruments of measurement. Throughout the day, the blue dots appear to at times match while at other times contrast the color of the sky becoming invisible and visible through the eyes of the viewer.

The Situation We Find Ourselves In (Composition 6 & 7)

Circle or curve? was an exploration of the viewer’s and artist’s shared responsibilities and roles in an artwork. Neither the artist nor viewer can see the entire circle from the ground. To complete the artwork, both the artist and the viewer must rely on their ability to envision the whole circle from the point where they stand. Comprehension of the work relies on continual assessment of their path as they walk the drawing. The viewer re-enacts the process of the artist to view the whole work – conferring to the viewer the responsibilities of the artist.

 is an unknowably long project that collaborates with local ecology and native wildflowers to draw a line that is best experienced by moving around it. As much as Herzog is the initiator of this work he is also a mere participant in its existence. Every year for as long as he lives the work lives on–changing, adapting, flourishing, diminishing, and reproducing. Year I saw the initiation of the project and the first flowers. 

These Things Take Time - Year I

Ryan Strand Greenberg

A Communal Line is a participatory public artwork by Andrew Herzog. This project is an evolution from his Walking Line photography series, where he positions walking, something we do every day, as a form of drawing. In this public artwork, instead of walking alone and compositing his solo image to make visible the line he draws, he invites anyone to participate in the work and share the role of the artist - subverting the role of authorship in a public artwork. Following a simple framework, everyone gets a chance to steer the line and draw by walking as they please. In A Communal Line, everyone who participates and walks is an author in the work - a collaborator. To further this idea of shared authorship and the necessity of artifact creation a certificate of authenticity stating the rules of the work is distributed, editioned, and signed by both Andrew and each one of the participants.

School

 is the first in a series of books by Andrew Herzog documenting one of his public art installations. The 

 dedicates a section to each step (framing ideas, affordances, process, realization, and references) that went into Herzog’s 2018 installation, 

 in which he painted a meter wide, one-kilometer diameter circle around the National Museum of Art of Romania. 

Softcover, 160 pages, 94 b&w, and 64 color, 9.75 × 11.75 inches


A Report: Circle Or Curve?

Building off the ideas first made visible in 

is a series of shapes drawn by walking. The shapes in this series represent universally recognizable fundamental shapes and symbols of value.

Something And/Or Nothing?

“Drawing(s) Made By Walking” simplifies the necessary means to draw, a series of drawings made by walking on paper using the dirt picked up by shoes to draw. 

Drawings Made By Walking

Circular Exercises is a film work documenting three ephemeral installations. Herzog utilizes many tools that are commonplace. When enacted in the context of art-making, these tools become an accessible medium to work with. This accessibility opens up a relationship between the viewer and the artwork. Because of that fact, the viewer posses these “tools” of art-making. In Circular Exercises, that logic is applied to drawing.

 began with the inclusion of the drone into Herzog's process. The new tool created a new perspective plain for Herzog to work on. The driving concept for the work is the ability to use walking, something we do every day, as a medium for mark making – to his satisfaction, making something from nothing. When enacted in the context of art, walking becomes an accessible medium to work with. This accessibility opens up a relationship between the viewer and the artwork. The viewer, if they are able-bodied, walks. By that fact, everyone who walks posses a tool of art making.

Walking Lines

 offers an interactive experience made possible by static media. While the words are binaries, the viewer's ability to reveal each word as they move around the piece illustrates the impossibility of binary constructs and the multitude of realities in between here and there.

This and/or That? (BLACK/WHITE)

 began with the inclusion of the drone into Herzog's process. The new tool created a new perspective plain for Herzog to work on. The driving concept for the work is the ability to use walking, something we do every day, as a medium for mark-making – to his satisfaction, making something from nothing. When enacted in the context of art, walking becomes an accessible medium to work with. This accessibility opens up a relationship between the viewer and the artwork. The viewer, if they are able-bodied, walks. By that fact, everyone who walks posses a tool of art-making.

Walking Line – Circle

There is a myth that moss naturally grows facing north in the Northern Hemisphere. As everyone from citizens to tourists traverses NYC they employ various wayfinding interactions. Moss was installed around NYC, facing north, to provide people with an unconventional natural wayfinding system — if they were familiar with the myth.