‘Moor’ examines the poetic and presented wilderness zones of Penwith, Dartmoor and Bodmin Moor, and represents a personal journey that I have built up with that particular landscape over many years.

I hope that these paintings describe some of the sublime and emotive energy experienced on the Moor, perhaps emphasized through the use of the gesture and texture of paint and material, however the paintings are polluted with reminders of the contemporary influence on this landscape and might be seen purely as romantic if they were not distorted, sometimes delicately and sometimes radically in subject matter, texture and meaning by modern intervention. A winding road cuts through ‘Crossing the Moor’, etched into an otherwise overwhelming elemental moorland triptych, likewise a real car radiator sits in the painting ‘Distant Long Barrow and Car Radiator’ and toy cars predominate in an image of the A30 and Dartmoor. a beer can is glued to another vast triptych of a moorland stream. It is a layered landscape, literally and metaphorically. The paintings are built with different types of paint, varnish, plaster, plastics, soils, pigments, felt, hay and other unconventional materials. To this rich surface often relevant artifacts are added, suggesting reminders or a memory, which is intrinsic to me. The idea of a layered landscape is one that fits my experience of the Moor, its geology and history, being equally matched by idiosyncratic histories, memories of those who visit. Perhaps it is a confused notion that I seek.

I hope that no image is left untouched by the awareness of change, memory, history or emotion, often the landscapes story or journey is intentionally opaque, but I hope that these paintings remind us that we are but another layer in time.

Andrew Hardwick, 2012


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Andrew Hardwick is a British artist born in Bristol, England in 1961 where he still resides.

His often large scale, sedimentary paintings display his captivation with wilderness zones; both natural and man-made. Playing with and subverting traditional notions of romantic landscape painting and the sublime. The paintings often depict edge-land zones around big industrial conurbations or ports, such as large-scale car storage compounds, redundant factories and polluted waste lands. Other works draw inspiration from the more typically idyllic locations such as Dartmoor and Bodmin Moor. However, these landscapes are also filled with reminders of human interference. Roads criss-cross the moor in deeply scratched lines, a narrow road is etched into an otherwise massive moorland triptych, likewise a real car radiator sits in the surface of a painting’s as if decaying and buried by the earth.

His medium of working is also atypical, paintings are heavily layered with different types of paint (often sourced from recycling centre), plaster, plastics, soils, pigments, roofing felt, hay and other unconventional materials. To this rich surface relevant artefacts are often added, creating reminders or triggering memories intrinsic to a particular landscape. The concept of layering in the landscape arrived partly a result of the artist’s childhood, during which his family’s farm was first sliced in half by the M5 motorway and then again by the Royal Portbury Dock. The land once filled with sheep has become a pure edge-land wilderness with detritus of the developments now filling the land. Hardwick’s entire oeuvre makes reference to concepts of change, memory, history and emotion. Ever redolent is the notion that we are but another layer in time.

Andrew Hardwick achieved an MA in Fine Art at the University of Wales. He is an elected Academician at the Royal West of England Academy. He has featured in four solo exhibitions at Anima-Mundi. Works have been exhibited extensively including numerous public shows and have been collected worldwide. Andrew Hardwick is represented by Anima-Mundi.