Carbon-Cosmos
We are thrilled to present a virtual solo exhibition of Lewis Andrews’ work, showcasing his innovative approach to bridging art and science. Andrews’ practice delves into the vastness of the cosmos, transforming astronomical data and elemental remnants of stars into thought-provoking visual narratives. Through his ‘Carbon-Cosmos’ drawings and explorations of celestial phenomena, he invites us to reconsider our connection to the universe. In this conversation, we explore his artistic journey, inspirations, and the profound questions that shape his work.
Q. Can you share the inspiration behind the works you exhibited here?
Lewis Andrews: The artworks within this exhibition have been created over the years when I’ve been looking into different aspects of the cosmos and the life cycles of stars. About four years ago now, I started to use Indian Ink as a primary drawing material of choice after reading into element Carbon. Carbon is vital to life on our planet through its ability to combine with other atoms with so much ease forming complex molecules. So much so that all life on Earth is Carbon-based.
However, Carbon’s origins can be traced back billions of years to the hearts of ancient high-mass stars which fused heavy elements within their cores. When these colossal suns run out of fuel, they implode, and a shockwave carries the elements fused within the star out into the cosmos to be mixed within drifting gas clouds and go on to form new stars, solar systems and planets. Yes, the elements (not just Carbon) that makeup you and I were once fused within a star billions of years ago.
The drawings simultaneously open a window to those ancient stars in their death throes and the natural world surrounding you as well as yourself and transport the viewer to the origins of the Carbon within the drawing, yourself and the natural world and form a bridge across time and millions of light years across the void of interstellar space.
Later works also featured within this exhibition have touched upon the aspects of the Cosmos which challenge our way of thinking and what we know. Pairing at a Black Hole’s event Horizon for me is the modern equivalent of our historic explorers eyeing up the horizon line of the ocean wondering what’s out there. A place where light can’t escape, the Singularity Works simulates a black hole up close and personal allowing the viewer to cross the void once again but allowing a stare down with a titan that challenges our laws of physics and generates wonder at what lies within.
Even the way we see the cosmos has been evolving in recent years. The discovery of Gravitational Waves in recent years has opened new possibilities for how we can view the cosmos. Generated during the collisions between colossal objects such as Neutron Stars and Black Holes, these ripples within spacetime allow us to view spectacular collisions across intergalactic space as these waves travel across the void over billions of years.
Each artwork aims to inform the viewer and generate conversations about the wonders of the cosmos which we can gaze upon with a sense of curiosity.
Each artwork aims to inform the viewer and generate conversations about the wonders of the cosmos which we can gaze upon with a sense of curiosity.
Q. What challenges have you faced during your artistic journey, and how have you overcome them?
Lewis Andrews:Over the years I’ve faced many challenges within my practice. The translating of scientific data into a visual medium remains a constant challenge with the difficulty depending on the subject matter at hand. When studying for my master’s degree at Leeds Arts University, I put forward the argument that artists can contribute to the visualisation of cosmic phenomena to carry across information to the everyday individual who may not have experience within a scientific field and is left a little puzzled by the data and information.
Using various sources and enquiring with artists actively collaborating with scientists, it became clear that using a visual medium to convey information and data from scientific endeavours can indeed help by acting like stepping stones to knowledge allowing our minds to comprehend the subject matter in digestible chunks. In turn, this leads to a better understanding of the subject matter. I’ve dubbed this interaction between the artwork and the viewer ‘The Informative Encounter’ and it’s a process each of my artworks aims to achieve through various means. Looking back through my artworks, I identified ten characteristics which each artwork displays one or more:
- New Knowledge.
- New Viewpoints / Impossible Viewpoints.
- Comprehension.
- Visualising Data.
- Collapsing Distances.
- Answering Questions.
- Open Up Conversations.
- Condensing Information.
- A Catalyst for information.
- Understanding or attempting to Understand.
Through the use of these ten aims, the artwork aims to generate an informative encounter with the audience. However, sometimes the artwork may not be able to communicate the whole of the subject matter but instead can offer a starting point for the viewer to become curious about the subject matter. Possibly stimulating them to further research the subject and open up conversations with other individuals. Making artwork that may generate an ‘Informative Encounter’ with the viewer remains my primary methodology within my practice and although is a constant challenge, always seems to in turn generate a work which feels more rewarding, and I think holds conceptually a strong foundation.
Making artwork that may generate an ‘Informative Encounter’ with the viewer remains my primary methodology within my practice and although is a constant challenge, always seems to in turn generate a work which feels more rewarding, and I think holds conceptually a strong foundation.
Q. How does your environment influence your art?
Lewis Andrews: In the everyday environment of my study, I like to think of it as a vessel of knowledge just waiting to translate into something visual. Books ranging in all fields of science line my bookshelves and I don't like complete silence most of the time, so a documentary is normally playing in the background while I make artwork. All of this helps with the motivation to create something new visually. When I’m relaxing with a book, I’ll make notes and start to pull information out which could lead to new work on the subject matter which I’m reading about. As a result, I do tend to fill sketchbooks with information more than sketchbooks but it’s just as rewarding as I seem to learn more and remember what I’ve learnt by doing this.
Some works require a complete change of scene to be produced. More often than not in the form of photography work. A good example of this would be a recent residency I participated in with Mayes Creative on the Isles of Scilly. I knew I would see dark skies and hundreds of stars but the feeling of seeing the Milky Way with my own eyes crystal clear above is still awe-inspiring. However, the residency also generated photographs of the horizon line, sea and granite rock formations on the islands, each of which will become a series in itself. Then once back home and able to process all of what I’ve just witnessed I may be able to spawn drawings, prints and various other works from the visit (although it is too early to say as I have only been home a day at the time of typing this after the residency).
In the everyday environment of my study, I like to think of it as a vessel of knowledge just waiting to translate into something visual.
Q. What message or emotions do you hope to convey through your art?
Lewis Andrews: Wonder, Curiosity and awe of nature and the cosmos would be the desirable outcomes however I like to leave it open. The ‘Informative Encounter’ as stated before conveys the information and data of scientific endeavour through the artwork and the work is created this way to maximise this.
In terms of what i would like the audience to feel from the artwork, I try not to influence that too much or style the artwork to specifically generate a single emotion as I want the audience to freely experience what they want from the artwork. Most of the time it is that of Wonder or Curiosity, but it can be interesting to see what other emotions can be stimulated by the artwork. I’ve had people cry in happiness at work. Feel energised. I’ve had one person lambast my work saying I was forcing a new perspective on people by forcibly opening their eyes (both claims are very much false).
It can be curious to see a wide range of emotions and conversations open up around the artwork and what it’s trying to convey and, in a way, feels more rewarding rather than steering the audience to feel one emotion. The part I like to focus on is if the artwork is communicating the source material of the subject matter, which so far at nearly every exhibition my work has been displayed seems to be the case and the conversations I’ve had with people after feeling all the more rewarding as a result.
It can be curious to see a wide range of emotions and conversations open up around the artwork and what it’s trying to convey and, in a way, feels more rewarding rather than steering the audience to feel one emotion.
Q. What advice would you give to emerging artists who are just starting their careers?
Lewis Andrews: Don't worry too much about trying to achieve a certain style, that will come naturally. Always be curious and open to trying something new within your work, don't fall into a comfort zone forever and always try to reach beyond that and I guarantee, if not every time, a new avenue for your work will open up at some point. Stay true to yourself and your practice, after all, it is an extension of yourself. I’ve always had a curiosity in nature and science since I was a child, and I reached a point in early art education where I questioned if combining my art and science interests would benefit me overall. Short answer, yes it did. Allow your ideas to flow naturally to you, experiment and play and then produce a work which feels rewarding for you to produce, not because you think it’s what people want to see. If you feel rewarded by the work you produce, that will echo throughout your practice and display your passion to the viewer.
Allow your ideas to flow naturally to you, experiment and play and then produce a work which feels rewarding for you to produce, not because you think it’s what people want to see.
Join us in celebrating Lewis Andrews’s artistic journey 'Carbon-Cosmos'. Click here to explore the exhibition.
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