Andrew has created for clients that range from The New York Times and National Geographic to Sub-Pop Records.
We sat down (editor's note: it was a conference call) with Andrew to discuss his life as an artist and reluctant businessman, visual punching bags, and the clarity that emerges from floating on a surfboard in the ocean.
Photos by Will Holder
Honestly, I'm horrible at the business side of it (editor's note: his client list says otherwise). I like creating imagery and collaborating. If I could exist without all the other stuff, I'd be happy.
I was lucky and landed some cool clients early on that validated what I was doing. Now I'm able to curate more and be pickier with what I take on.
A blank piece of paper is a frightening thing to me.
I do some gallery stuff here and there, but I like to have some parameters or a goal.
If I have extra time I do something different, or else I’m creatively burnt out. I either pick up a guitar or one of my kids.
I also have these vintage index cards — when I'm stuck, I just put the pen down on the paper and start going. I revisit these sketches if I hit a wall. It's like a visual punching bag.
I'm most productive at night. I get in that zone where I'm not thinking about time. I'm not conscious of what's going on around me. Just going, and all of a sudden three hours have gone by, I pick my head up, and say “oh, I'm about done with this."
When life is complicated, I just go out there in the water and float on my board. The ocean is still, and I can just exist there. That simplicity is something I shoot for in my work. It drives me to get rid of the noise and the frivolous stuff.