2010
April 1st, 2010, Speak For The Trees, Friesen Gallery, Seattle, WA
2009
December 30th, 2009,Speak for The Trees, Friesen Gallery, Sun Valley, ID
"My dreams weigh into my work constantly. Sometimes my dreams enter into my waking life, and I manifest things from them. I have had a recurring lucid dream for over 10 years now. It's a very special place I go. It's so amazing there. I've been trying to map it and write about it, along with creating artwork that represents elements of it. My current series, "Running Through the Forest," is about my recurring dream... Perhaps you are becoming part of it.
My "Running Though the Forest" series represents to me a return to a certain type of freedom & innocence experienced as a child. A metaphor for life as we move through it. It is sometimes filled with anxiety and sometimes with comfort. It is something we must be ok with, as with death and rebirth, if we are not, the forest becomes a jungle and we are consumed by the weight of it.
We run through this forest, yet we cannot run from ourselves. we are confronted by ourselves no matter how far we travel, how deep we go. Sometimes we must go deep inside and shed our outer ego and external influences in order to see clearly who we are...To truly know who and what we are. It is though this constant experience that we are able to more-clearly see the truth that surrounds us. When you are in the forest you only have yourself. When I dream, I travel into a forest, but I fear not, for I am in my present true-self and therefore cannot be weighted down by the karmic weight that is placed upon us by ourselves and society.
There is no movie, there are no props, there is no 15 minutes, your already in it,
as am I."
-Andie deRoux
"Running Through the Forest" is artist Andie DeRoux's pursuit of a recurring lucid dream using kinetic zoetropic sculpture and heavy canvases of resin-coated trees. In his ongoing experimentations with sculpture, DeRoux has created a faux-stone pillar made of resin and sand containing small windows with photographs of Northwest landscapes. When it's turned on, it spins (as fast as several hundred revolutions per minute) while four strobe lights illuminate it, flickering images in an attempt to re-create the fragmented visions excavated from the artist's subconscious. But it's the trees that have the starkest, most commanding presence in the show. From a few steps back, they look like heavily varnished, high-contrast black-and-white photos. But on closer inspection, over-layers of paint and sumi ink emerge. In Follow and Encounter, DeRoux's artifice is more obvious, while Departure and Moment, the most ethereal of the four, most artfully achieve the blend of nature and interpretation created by the artist's involved process. - Sue Peters, Seattle Weekly
