Studio A.H. is the practice of New York City-based American interdisciplinary artist and designer Andrew Herzog.
His medium-agnostic practice examines the constructed boundaries between humanity and the natural world0, with particular attention to the human systems that mediate those relationships. Fatherhood and caregiving have increasingly shaped these inquiries, informing investigations into masculinity, lineage, memory, and the proliferation of human systems amid the Anthropocene0. Drawing on his background in creative technology and design0, Herzog employs recognizable materials, infrastructures, technologies, and mechanisms to create accessible points of entry into complex ecological, social, and historical questions. His work spans painting, sculpture, film, installation, photography, printed matter, interactive media, and participatory projects. Depending on the nature of each project, Herzog collaborates with engineers, fabricators, filmmakers, curators, scientists, and a wide range of other practitioners to realize works whose scale and complexity sometimes extend beyond a single discipline.
In 2026, Herzog was awarded the MuseumsQuartier Wien Art & Ecology Residency0 in Vienna, Austria, where he began work on his third film, Not Only Plants Grow Up. The film continues his ongoing investigation into ecology and human systems through the intertwined temporalities of plants, people, and the built environment. The same year, his second film, Deer Hunter, was awarded the Golden Nica at the Prix Ars Electronica0. Completed in 2026, Deer Hunter was developed during Herzog's 2025 Savannah College of Art and Design Affiliate Artist Fellowship at the American Academy in Rome0. The primary scenes for Deer Hunter were filmed in the Esposizione Universale Roma (EUR), whose Fascist-era architecture forms an essential backdrop for the film's exploration of masculinity, migration, and inherited cultural narratives.
In 2023, The Art Vacancy0 presented Herzog's solo exhibition EREMOCENE, bringing together several bodies of paintings centered on two things we cannot recover: time and natural resources. As an extension of the exhibition—and as a way of activating the gallery beyond its regular hours—Herzog and Elie Andersen organized WHAT NOW? '23, a series of artist-led programs, conversations, screenings, and interventions that transformed the exhibition into an evolving platform for experimentation and public exchange.
In 2022, commissioned by vaga – espaço de arte e conhecimento0, Herzog created a film based on his participatory installation series A Communal Line on São Miguel Island in the Azores, Portugal. The work premiered at Arquipélago – Centro de Artes Contemporâneas. That same year, he completed his first permanent public artwork, HERE/ICI, commissioned by the SCAD Museum of Art (SCAD MoA)0 and installed along SCAD Lacoste's La Promenade de Sculpture0 in France.
In 2021, Herzog published A Report: Circle Or Curve?, the first in a planned series of books documenting his public artworks. During the COVID-19 pandemic in 2020, he initiated These Things Take Time, an ongoing, site-specific land artwork developed in collaboration with local ecology and native wildflowers on a private estate. Conceived as a multi-year project, the work continually changes over time and is intended to be experienced through walking. Also in 2020, he was nominated for the C/O Berlin Talent Award0.
In 2019, Herzog realized two iterations of A Communal Line: one commissioned by the High Museum of Art0 in Atlanta, Georgia, and an earlier installation at the invitation of the A4 Museum0 in Chengdu, China. That same year, the Franklin Institute commissioned his interactive public installation Blue Sky or Sky Blue?, which was presented first at the museum before expanding into the Delaware River Waterfront in Philadelphia. In 2018, Herzog completed Circle Or Curve?, a one-meter-wide, one-kilometer-diameter painted circle surrounding the National Museum of Art of Romania, commissioned by the EIDOS Foundation0 for the UNFINISHED Festival0 in Bucharest.
Alongside his artistic practice, Herzog has maintained an active career in design and technology. Since 2019, he has been a partner and creative director at School, a design and engineering studio that approaches conceptual, practical, and visual challenges through research-driven collaboration. Previously, he co-founded the design and technology studio HAWRAF0, which operated from 2016 to 2019. During its existence, HAWRAF participated in the third cohort of NEW INC.0, the New Museum's incubator for art, design, and technology. The studio became known for its experimental interactive work, transparent operations, and self-initiated projects. When HAWRAF closed in 2019, its partners publicly released the studio's internal documents, processes, and business materials in an effort to make creative practice more accessible and lower barriers to starting independent studios.
Before HAWRAF, Herzog worked at Google Creative Lab0, where he contributed to projects exploring artificial intelligence, creative tools, and accessibility. He worked on Quick, Draw!, which produced one of the world's largest publicly available drawing datasets for machine learning research, before leading the creation of AutoDraw, a free drawing application that used machine learning and the Quick, Draw! dataset to help users complete their sketches. Earlier in his career, he worked at Sagmeister & Walsh 0and R/GA0.
Herzog's design work has been recognized internationally through awards and publications. It has been featured at the Cannes Lions International Festival of Creativity, the Art Directors Club, and D&AD. In 2017, PRINT Magazine named him one of its "New Visual Artists: 15 Under 30." His work has also been featured in Fast Company, The Verge, Hypebeast, Quartz, Creators Project (VICE), It's Nice That, Mashable, and The Atlantic.
Since 2016, Andrew has served as an adjunct professor at Parsons School of Design | The New School, the School of Visual Arts, and the Pratt Institute. He continues to lecture internationally on the intersections of art, design, technology, and ecology. He received both his undergraduate and graduate degrees from the Savannah College of Art and Design.
The idea of personal archives seems increasingly necessary and useful. It provides context for anyone interested in the build-up of work over time. An archive provides a level of transparency that has proven recurrent in Herzog's work and process in both art and design. At its best, the archive is a make-shift syllabus for aspiring artists and designers. At its worst, it's an annoyance to keep up to date. Either way, it is in itself a project, one that documents the output of Andrew Herzog throughout his creative pursuits.