The Archive is a compilation of art and design projects, both realized and unrealized, press materials, teaching endeavors, experiments, and lectures. The design projects, spanning from 2019 to the present, primarily originate from 

, where Herzog serves as a partner and director. The Archive, as a whole, offers valuable context for the gradual accumulation of work over time, encompassing various mediums and disciplines. The filters are not intended to serve as a rigid classification system that sparks debates about the separation of art and design. Instead, they are designed as useful navigation tools to facilitate exploration within this expanding body of work.

Andrew Herzog is a multidisciplinary conceptual artist and designer. He’s a partner at School, a design studio founded by two designer-engineer-artist-types. His artworks have occupied museums, galleries, and city streets. He was previously a co-founder and partner at HAWRAF - a design and technology studio, and is an alum of Google’s Creative Lab.

Andrew Herzog | Archive

 carved into it is left on the coast of Maine as a physical geotag to be checked on annually.

Geo GeoTag (2026)

Deer Hunter screening as part of the Prix Ars Electronia Festival program at Johannes Kepler University Linz followed by a Q & A discussion with artist, Andrew Herzog. 

Deer Hunter @ Prix Ars Electronica Festival

The Prix Ars Electronica is the most internationally renowned competition for works at the intersection of art, science, and technology. Held annually since 1987, it is now considered the competition with the highest prize money, and the approximately 4,000 entries it receives each year from more than 100 countries attest to the dynamism of international media art. With numerous images, texts, and statements from the jury, the book brings together the works that were honored in 2026 in the categories New Animation Art, Interactive Art+, Digital Humanity, and u19–create your world. Published by Hatje Cantz Verlag. 

2026 Prix Ars Electronica Book

The exhibition presents six selected works by winners of the Prix Ars Electronica Golden Nica 2026 and the European Commission’s S+T+ARTS Grand Prize 2026 at the Lentos Kunstmuseum. 

With a strong sense of urgency, the works on display challenge our understanding of what it means to be ​“human” – a concept we long took for granted. They reconsider it from a wide range of perspectives: from bodily perception and the logic of capitalist technologies to the new autonomous creativity of AI, as well as history, geopolitics and the climate crisis. Together, the award-winning works reveal that what we consider ​“human” is not fixed, but constantly evolving. In doing so, they give powerful form to this year’s festival theme, NEGOTIATING HUMANITY.

NEGOTIATING HUMANITY: Prix Ars Electronica exhibition at Lentos Kunstmuseum

 is an assemblage of archival footage, family home videos, and speculative documentary produced using generative AI. The film explores masculinity, inheritance, and nationalism through the artist’s relationship to the men in his family: Italian immigrants who fled fascism for America, his terminally ill godfather, and his newborn son. Returning to Italy to film in the landscape his ancestors once left, the work traces a circular movement between origin and destination.

At the center of the film is an AI-generated American white-tailed deer, introduced into documentary footage of Rome’s EUR district, known for its monumental Fascist-era architecture. Created using a custom model trained on the White-tailed deer species, the deer produces moments of ecological fiction—scenes that appear observational but are constructed through machine learning.

These sequences are juxtaposed with archival footage of an “American Hunter” reading from José Ortega y Gasset’s 

, alongside childhood home videos of the artist’s family tracking deer through forests. The deer becomes a figure through which the film considers beauty and violence, inheritance and masculinity, and the ways humans construct and project ideas of the natural world.

Deer Hunter

The Prix Ars Electronica is the world's longest-running media art competition, honoring outstanding works by international artists each year. It offers an inspiring, forward-looking glimpse into where art, technology, and society intersect. Once a year, an international jury of experts gathers in Linz to select the winners of this renowned media art prize. During this year's Jury Weekend, we sat down with Mona Kasra and Leonhard Müllner from the New Animation Art category to talk about the selection process and this year's winning projects. Credit: Ars Electronica / Yazdan Zand

 Prix Ars Electronica 2026 – Jury Statement (Deer Hunter)

To celebrate the 25th anniversary of Vienna's MuseumsQuartier (MQ), which officially opened on June 29, 2001, Austria’s public broadcaster ORF produced dedicated feature coverage highlighting the cultural hub's history, controversies, and residency program, for which Andrew Herzog was interviewed. Herzog talks to Julia Fellerer about the project he is working on at MuseumQuartier, his forthcoming third film, 

ORF: Where Art Meets Lifestyle: 25 Years of MuseumsQuartier

Ars Electronica Blog – Traces of the Past

 brings together artistic practices from diverse geographical, cultural, and institutional contexts. The exhibition presents works by artists that were created or further developed during their residencies at the MuseumsQuartier Wien. When viewed side by side, these works give rise to a multifaceted dialogue that highlights individual artistic approaches, questions, and research processes, inviting viewers to engage in collective reflection. The exhibition presented the work of: 

Gestures of Exchange at MuseumsQuartier Wien

An incidental home video recorded by Andrew's grandfather while testing the macro focus on his video camera. His wife, Andrew's grandmother, offers help six times. He refuses. In the end, he unexpectedly captures a moment of natural beauty.

Macro Focus: Six Refusals & A Miracle

The Sinclair DINO balloon first appeared in the 1963 Macy’s parade. It became an Honorary Member of the Museum of Natural History in 1975. One of the several versions of Constantin Brâncuși's 

can be seen at the Philadelphia Museum of Art. The two lovers embrace while being made of the same stone. 

A Circular Economy

A split composition of a cartoon hand pointing toward a realistic hand based on the artist's own. A smooth rock emerges through the implementation of a simple shadow on the rock background. A limestone wash is used to both remove and create material within the image.

You? Me? Me? You?

A single boulder is precariously positioned within the frame of an archetypal house form. The frame, hand-carved to suggest the texture of roof shingles, renders the structure as both image and object.

Home (#1)

A model for an unrealized intervention in which one pine tree supports another. Created as a speculative proposal, the work embraces the possibility that some ideas need not be realized to exist meaningfully.

Lean On Me – Model

A diffuse, monolithic boulder rendered in rock pigment emerges from a dark black field. 

Boulder #1

A sketchbook created during the process of filming Deer Hunter that served as a storyboarding workspace. The sketchbook functioned as an evolving site of translation between idea and image, containing preliminary drawings, compositional studies, notations on movement and duration, fragments of text, and diagrammatic sequences that map the progression of scenes.

Deer Hunter (sketchbook)

The Facciata typeface was developed for the film 

to be released in 2026. The typeface is based on the hand-painted typography present in films such as Camicia nera, a Fascist propaganda film that details Italy's sacrifices in WWI and Mussolini's 'transformation' of rural Italy.

Facciata typeface

Spazi Aperti is an annual, collaborative group exhibition hosted by the Accademia di Romania in Roma (Romanian Academy), highlighting work from international artists-in-residence at various foreign academies and cultural institutes across Rome. The 22nd edition of the international contemporary art exhibition Spazi Aperti 2025 took place from May 23 to September 7 2025, at the Accademia di Romania in Roma. 


, which documented his 2018 public artwork in Bucharest at the National Museum of Art of Romania, was shown in the exhibition

Spazi Aperti XXII ed

Artist Talk - Day(')s End

Day(‘)s End, is an exhibition of new paintings by Andrew Herzog. In this series, Herzog focuses on personal and collective storytelling through images of subjects that function as nexuses—sites of convergence whose presence sparks or contributes to change on a geological scale.

The works in Day(‘)s End are rendered on surfaces layered with rock pigment created by the artist from stones collected near his studio in New York City. These pigments lend the paintings both a literal and symbolic connection to deep time. Herzog extends this dialogue to the ever-changing anthropocentric city landscape, incorporating motifs taken from graffiti removal processes. These traces, like the quiet competition of native plant species vying for survival, embody the tension between erasure and propagation.

In this latest body of work, Herzog meditates on the residues left by human activity—material, cultural, and temporal—and the ways in which they inform the landscapes of the present and future. These layered compositions of permanence and impermanence invite viewers to consider the cycles of creation and destruction that shape our world amid the Anthropocene epoch.

Day(')s End at Spalding Nix

The Last

"I lost a significant figure in my life in the fall of 2024. The process of losing them felt both unmercifully slow and yet too fast to fully reckon with. His importance in my life was shaped by examples of a life well lived. He opened more doors in my small world than I ever had the chance to thank him for. Simultaneously, I welcomed my first child this fall. Having been intimately immersed in seemingly both ends of this circle of life so simultaneously, I can’t say I gleaned much more than an iota of a realization of the staggering simplicity of it all. At times the simplicity has been hard to square. For me, one tiny bit of comfort amongst all this has been an adoption of a piece of the first law of thermodynamics as a sort of mantra: energy does not disappear it only changes form."

Day(‘)s End (Funeral Pyre)

Painting sketch for the flames in Day(‘)s End (Funeral Pyre). 

Day(‘)s End (Funeral Pyre) – sketch

Lifting a fallen tree from the ground back to its standing state. 

He Ain’t Heavy, He’s My Brother

Cutting Power (R-E-S-P-E-C-T)

 screened at MEWS NYC in Brooklyn, New York.


A Communal Line @ MEWS NYC

Sketch/planning document for an unfinished painting – 

Untitled (Bolt) – sketch

strand - Episode 031: Andrew Herzog

Don’t Let It Bring You Down, It’s Only Castles Burning.

Don’t Let It Bring You Down, It’s Only Castles Burning – sketch

A shark's jaws rendered amongst a pile of rocks trapped in a silhouette composition.

At The Threshold To The Belly Of The Beast (Jaws)

Untitled (Cow) – sketch

Design and engineering for Cosmologyscape created by Kite and Alisha B. Wormsley for Creative Time. Cosmologyscape is an invitation to the public to dream. This multimedia and participatory public art project unfolds over the summer and fall of 2024, across multiple sites—both digital and public spaces. 

 worked closely with Kite and Alisha, to develop an identity and design language inspired by Lakota visual traditions and Black quilting references, creating a digital tapestry that evolves through the sharing of collective dreams. Everyone is invited to submit their dreams, which generate a unique quilt square based on their contribution. Each dream square contributes to the growth of the digital tapestry on the site.

Creative Time - Cosmologyscape

A Lockheed Martin F-35 Lightning II amongst a pile of rocks trapped in a silhouette composition.

Cortez The Killer (F-35)

 will expose students to design problems that are dimensional in nature and/or exist in a physical space. Students will develop an understanding for how to generate and design their own objects/products, displays, utilize effective materials and design the environments that these products ultimately live in, whether real or fictional. Students will be able to harness three-dimensional design principles to develop a series of explorations that relate to space and human behavior.

Pratt Institute - Product, Environment, Material (COMD-380-06)

Sketch/planning document for the completed painting – 

Prelude To Acts Of 𝘋𝘪𝘱𝘭𝘰𝘮𝘢𝘤𝘺.

Prelude To Acts Of 𝘋𝘪𝘱𝘭𝘰𝘮𝘢𝘤𝘺 – sketch

The World Trade Center (Twin Towers) rendered amongst a pile of rocks trapped in a silhouette composition.

Prelude To Acts Of Diplomacy 

"Barney was my paternal grandmother’s friend. As a kid, I distinctly remember visiting my grandmother and Barney in Philadelphia. My grandmother, a daughter of Irish immigrants, was a widow who raised 7 kids in that home. She was an absolutely sweet and loving woman who was no stranger to adversity throughout her life, but I never knew it. I imagine she and Barney, a yellow-headed amazon parrot, natively from Mexico and Central America, shared more than we knew. Yellow-headed amazons are known for being “one person birds” - bonding to one human, to whom they become fiercely loyal. They have been kept for centuries because they are among the parrots that “talk” best. And Barney did talk. He said mostly what you’d imagine, but I often wonder about the unspoken bond that existed between the two of them as they spent their days together.

Barney, The Parrot, From Philadelphia

A depiction of a wheel, seemingly one of humankind's most important inventions. The regularity with which we come into contact with this form and how it has shaped our world almost makes it seem as if it predates invention, but we know it doesn't.

Perhaps, The Wheel Is To Blame For Some Of This? II

The summit of Mt. Everest is rendered on a rock amongst a pile of rocks trapped in an equilateral triangle composition. 

Untitled (Mountain)

Untitled (Sun) – sketch

The Epic of Gilgamesh is one of the oldest surviving works of literature, originating from ancient Mesopotamia. It tells the story of Gilgamesh, the legendary king of Uruk, and his quest for immortality.

Gilgamesh (Snowman aka Jeezy)

A Goodyear Wrangler Workhorse AT™ tire rendered on rocks trapped in a square wheel composition. 

Perhaps, The Wheel Is To Blame For Some Of This? 

Three rocks trapped in a composition with a General Dynamics F-16 Fighting Falcon on one rock and a dove flying on the other. 

Flying/Falling

A rainbow made from a fallen Cherry tree trunk cut and shaped into an arch and spray painted. A polysemantic narrative in the form of a sculpture that reanimates a present-day natural affordance.

Alive At The End Of The Rainbow - III 

Two rocks trapped in a composition with an ice-cold glass of Coca-cola painted between them. 

Enjoy Coca-Cola!

A rainbow made from a fallen Black Walnut tree trunk cut and shaped into an arch and spray painted. A polysemantic narrative in the form of a sculpture that reanimates a present-day natural affordance. 

Alive At The End Of The Rainbow - II 

A model for an unrealized earthwork. Digging a hole to create a hill for people to traverse. 

A Hole Is A Hill – Model

The “Mathematical Principles of Natural Philosophy” is a seminal work by Sir Isaac Newton, published in 1687. It is commonly known as “Principia Mathematica.” In this work, Newton formulated the laws of motion and universal gravitation, which laid the foundation for classical mechanics and revolutionized our understanding of the natural world.

Mathematical Principles of Natural Philosophy (Before Relativity)

Nobell Seeds is a division of Nobell Foods a company on a quest to create the world’s greatest animal-free cheese. Nobell Seeds works with independent farmers throughout the midwest to raise soybean plants to grow the dairy protein casein to make cheese. 

 concepted, designed, and built an identity design system that helped Nobell reach out to farmers and communicate the benefits of their growing partnership.

Nobell Seeds

The Wardian case and the automobile stand as juxtaposed tragic figures, intricately interwoven within the proposed installation. These two entities epitomize the arc of innovation turned environmental liability, shaping both global and local climates and cultures. Initially symbols of possibility and accessibility, they have since become two of the most environmentally detrimental inventions ever devised.



This work transforms a car into a sealed terrarium, where plants will grow over the course of the exhibition. The enclosed vehicle functions as a micro-environment, naturally establishing a water cycle to sustain the sewn plants.



Through this material juxtaposition, the installation highlights the deep interconnection of environmental systems—serving as both a cautionary tale and a call for systems thinking in a world where everything is linked.



This work was created as a proposal for the 

Ford Wardian

Painting a rock with seawater 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.

Another Impermanent Human Intervention

Geo GeoTag (2023)

Melon AI is a tech startup giving people the opportunity to create and train their own personal AI. 

 concepted and designed an identity and UI system that sought to make the underlying technology feel more affable, fun and approachable. Aesthetically we were drawn to the world of claymation for how the characters and textures provide a friendly tangibility.

Melon AI

Mailchimp, a business development and email marketing platform, wanted to create a resource to help black entrepreneurs realize their ambitions and rewrite the blueprint for small business success. 

 designed and built an editorial platform that offers readers the ability to navigate articles organically or through a categorized index.

Mailchimp – Bloom Season 2

EREMOCENE, a solo presentation of paintings by Andrew Herzog, is a collection of paintings presenting a convergence of several bodies of work that center on two things we can’t get back: time and natural resources. The scientist E.O. Wilson has argued that if we don't change the way we live, in the not-too-distant future, we will leave behind the Anthropocene and enter the Eremocene, the Age of Loneliness, an epoch marked by existential and material isolation on the planet resulting from humans having extinguished so many other forms of life. In the present, we live in a time when Western culture’s cumulative capitalistic actions, predicated on the foresight of human timescales, and the consequences of those actions, are coming to bear in front of our eyes. This body of work utilizes geological timescales. Instead of decades and centuries, rocks are measured in hundreds of thousands and millions of years offering a simultaneous view of the past and future now.

EREMOCENE

Today we are between a 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 11)

 presents twin boulders, riddled with naturally occurring and human-ascribed differences. Graffiti is used as an anthropomorphic flora. This flora measures time with its growth and decay. Representations of anthropomorphized animals both real and imagined as well as caricatured earthly iconography serve as a means of compartmentalizing the perceived amorphous liminal space between humans and nature. The pairings of boulders stand as geological Stoics aging in silence.

Parable Or Palimpsest? (Monoliths c1, c2)

Parable Or Palimpsest? (Monoliths a1, a2)

Parable Or Palimpsest? (Monoliths b1, b2)

The Situation We Find Ourselves In (Composition 9)

A Primer: EREMOCENE serves as a companion piece to Andrew Herzog's solo exhibition EREMOCENE curated by Sáng Huynh. The exhibition presented a convergence of several bodies of work that center on two things we can’t get back: time and natural resources. The scientist E.O. Wilson argued that if we don't change the way we live, in the not-too-distant future, we will leave behind the Anthropocene and enter the Eremocene, the Age of Loneliness, an epoch marked by existential and material isolation on the planet resulting from humans having extinguished so many other forms of life. In the present, we live in a time when Western culture’s cumulative capitalistic actions, predicated on the foresight of human timescales, and the consequences of those actions, are coming to bear in front of our eyes. This body of work utilizes geological timescales. Instead of decades and centuries, rocks are measured in hundreds of thousands and millions of years offering a simultaneous view of the past and future now.
–

A Primer: EREMOCENE

The Situation We Find Ourselves In (Composition 10)

 staged in concert with Andrew Herzog’s exhibition 

 is both a time and a place. But how do we create 

? We live in the shadow of the past and its burden on the future–simultaneously attempting to reconcile the past and anxious about our plans for the future. In defiance of that, we want to acknowledge 

 and gather to learn, teach, and share with one another. Our programs take into consideration the implications, affordances, anxieties, and opportunities of the past and future to create space for 

WHAT NOW? 23'

A rainbow made from a fallen Birch tree trunk cut and shaped into an arch and spray painted. A polysemantic narrative in the form of a sculpture that reanimates a present-day natural affordance. 

Alive At At The End Of The Rainbow - I

Thesis is a year-long self-driven investigation into the research, prototyping, and design of an identified question, critique, or point of view. It provides an opportunity for design innovation and inquiry through the rigorous research and development of a capstone project, through various pathways across multiple platforms. The goal of the first semester is to research, develop, and articulate a thesis concept and create experimental prototypes, including designed presentations of research and process. Thesis 1, in particular, focuses on process, which includes primary and secondary research, ideation, prototyping, documenting, and writing about one’s own work.

Parsons School of Design Thesis 2022-2023

 designed a generative identity system and website for “nkwiluntàmën: I long for it; I am lonesome for it (such as the sound of a drum)” an immersive sound installation walk through the riverfront grounds of Pennsbury Manor by artist Nathan Young. The installation guides listeners across the historic site, experiencing a blend of music, voices, and environmental recordings. The original composition amplifies Indigenous agency, honoring and reimagining environmental song-making traditions that have endured through his tribe’s diaspora across North America.

nkwiluntàmën

but more broadly features the process of making all of the rock paintings in the exhibition, 

These paintings are made using water and rock pigment sourced from stones found in New York City parks and ground into pigment in the studio. 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.

Shaping Stone From Stone

Herzog was included in INTERVIEWS, designed and created by 

. INTERVIEWS is a collection of eleven Proust interviews from creatives who inspire the work at 

. Interviews included also featured Quinner Baird, Archie Lee Coates IV, Ronnell K. Culbertson, Saeed Ferguson, Jared Ray Johnson, Che-Wei Wang & Taylor Levy, Livio Melo, Sam Valenti IV and Antares Yee. 

INTERVIEWS by suuuperposition

The New York Times wanted to create an interactive article that celebrated the annual Scrips National Spelling Bee. 

 concepted, designed, and built an interactive article that challenged readers to guess 10 words from past Scripps Bee competitions, each revealed after a series of clues.

New York Times – What's in a Word

A Report: Blue Sky Or Sky Blue?

Mailchimp – Bloom Season

 screened at Arquipélago Centro de Artes Contemporâneas in Ribeira Grande, Azores, Portugal.


A Communal Line @ Arquipélago Centro de Artes Contemporâneas

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 8)

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.

A Communal Line 

 developed a bespoke typeface for Hii Magazine called DAWs based on digital audio workstation (DAW) interface, which also influenced the Hii Magazine logo and overall identity system.

Hii Magazine – DAWs Typeface

This project was proposed on for the island of São Miguel Island in Portugal. Using calcium carbonate-based paint* to paint a rock white to look like a glacier. This work is ephemeral, after it rains the calcium carbonate will be washed away confirming the reality of the object. The moral drawn from the fable of 

 is that one's basic nature eventually shows through the disguise. Scientists and policymakers around the world are exploring the use of several geoengineering techniques to alter the environment in ways that could reduce the effects of climate change. While the long-term effects of geoengineering the environment remain largely unknown, humans continue to see themselves as the subject of an object-rich environment. However foolishly and futile, we see ourselves as having the ability to author our own environment–to dress a rock in glacier’s clothing.
–

*Shells are made of calcium carbonate, in the mineral form of calcite or aragonite. Calcium carbonate (CaCO3) minerals secreted by marine organisms are abundant in the ocean. Calcium carbonate is naturally present in water,  beneficial (reduces acidification) and poses no hazard, there are no regulatory limits.

A Rock In Glacier’s Clothing

Mailchimp, a business development and email marketing platform, wanted to create a resource to help introduce people to local small businesses and nonprofits and encourage them to #GiveWhereYouLive. School designed and built a website to help uplift nonprofits and small businesses doing good in your neighborhood.

Mailchimp – Give Where You Live

Graffiti, as a marker of time, draws a parallel between painted forms and the growth of native plants. Paint layers vertically, much like the ascent of plants, transforming barren spaces into colorful environments. In a manner reminiscent of how native plant species quietly compete for space, often outcompeting faster-growing species, graffiti can signify strength and dominance in an area. Similar to the lifecycle of wildflowers, the ebbs and flows of these silent competitions are often seasonal, leaving behind remnants of the past for the future to propagate.

Geological Time Slices

Zadig & Voltaire, a French fashion house with stores around the world, was opening a new store on Madison Avenue in NYC and wanted to create an FW23 campaign to announce their arrival. 

 concepted and directed a digital campaign as if it were shot in Google Maps Street View around New York City.

Zadig & Voltaire FW23

Painting a rock with river 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. 

Finally, An Impermanent Human Intervention (NYC)

Spalding Nix – Artist Talk

An ephemeral intervention comprised of a car blocking a single road in a small village in the south of France. 

c'est la vie (The car is stuck)

The Situation We Find Ourselves In (Composition 4)

Today, we are between a 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. Among 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 ad nauseum repeating 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 polished 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. Andrew’s latest 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 and 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, 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

Mountains form over geological time as Earth's crust collides and buckles upward, much like the hood of a car in a head-on crash. On a vastly smaller scale and exponentially faster timeline, a similar process unfolds daily at Revolution Recycling, where mountains of recyclable material take shape. These artificial peaks are as much a part of nature as those formed over eons. While the topography of RR is ephemeral, the materials that compose it are not. Building materials are not just for building—they are for decomposing, slowly digested by soil bacteria over centuries.



For the past three centuries, particularly in Western culture, humans have scaled mountains as an act of conquest—a colonialist tradition of subduing nature. But in the Anthropocene, we have already conquered the natural world, leaving our imprint on everything from the weather to the air we breathe, even to microplastics found at the summits of the highest peaks.



One way to confront the flaws of our anthropocentric perspective is to see the mountains of RR as surrogates for the idealized, untouched landscapes we envision. A video work documenting a “mountaineering expedition” through these recycled peaks offers viewers a new way to engage with the magnitude of waste—to experience it at the scale of walking. While we struggle to grasp the quantitative enormity of human waste, seeing it as a traversable mountain range makes it viscerally comprehensible. These mountains, though fleeting, are an undeniable part of our planetary landscape.



Climber

The Situation We Find Ourselves In (Composition 5)

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

 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. 

This and/or That? (HERE/ICI)

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. 

Finally, An Impermanent Human Intervention (Maine)

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.

Blue Sky Or Sky Blue? (Oregon)

In an effort to make the archive more accessible, a complete revamping of the Studio A.H. portfolio site took place between 2021 and 2022. An added selected work section helped to surface the most pertinent projects. This is 

 the last entry showcasing portfolio evolution. 

2022 Portfolio Site

2019-2020 Thesis course description: Interaction and motion offer entry points to viewers and participants not unique to our time but increasingly more utilized and familiar. The necessity to think about design through the lens of participation and narrative will be important for designers tasked with creating how we’ll evolve and utilize visual communication in the future. In this course, students will approach design through a multidisciplinary view that examines the interplay of interaction, motion, and programming in design. There will be a strong emphasis on experimentation, presentation, and process. In addition, we will discuss motion and interactive-based principles, practitioners, and case studies at the beginning of each session. Prerequisite: interaction and motion design course encouraged.

SVA Thesis 2021-2022

These Things Take Time - Year III

How School injects humanity into digital spaces (Creative Review)

An artist talk given at vaga - espaço de arte e conhecimento in Portugal during the filming of 

The talk focused on questions of art history and art making. 