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Cliff Andrade F330156 (no place like home part 2)

£55

4 in stock

Handmade Artist’s Book, blizzard-bound risograph and screenprint images

10.5cm x 15cm

Edition of 14

Themes explore Identity, Migration, Personal Histories, Memory and Place.

The artist

Cliff Andrade

Cliff studied BA Communication Design at the prestigious Glasgow School of Art, graduating first class with honours, before studying for a Masters in Print at the Royal College of Art, where he was the Tony Snowdon Scholar for 2018-2020. He also holds a BSc (Hons) in Economics and Politics from the University of Bristol. He is a previous winner of the Jill Todd Photo Award, and has been a finalist for both the Association of Photographers Award and the Aesthetica Art Prize. He has exhibited work at a variety of galleries including the Royal Scottish Academy in Edinburgh, Streetlevel Photoworks in Glasgow, Southwark Park Galleries in London and Spike Island in Bristol. His practice is multi-disciplinary, taking in drawing, printmaking, photography, film and installation.

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I like telling stories.

I like being from two cultures, but not really belonging to either. I like having my own experience of the immigrant story.

I worry the experiences I grew up with will disappear into history if I do not make them into stories. I like to release my stories into the world to challenge dominant notions of identity.

And memory.

I made a series of prints based on my parents' experience of immigration.

I like that stories are based on memory. I like to explore the unreliability of memory. I am sure the things we remember never existed in the way we think they did.

I like to think about the consequences of basing our identity on something so unreliable.

And on place.

I like to explore the relationship between memory and place.

I like to wander around the areas I now find myself in and compare them to 'home'. Did the place I recall as 'home' ever really exist?

I like borrowing from others for my stories. If you have a split identity, you have to borrow to fill the gaps.

I like the directness of drawing as a way to get the stories out of my head. I worry that tradition is inclined to not consider drawings 'proper' art. I use printmaking to give them more 'weight'.

I like photography. As with stories, you decide what to tell and what to leave out of the frame.

I like to consider whether photography is a friend or a foe to memory.

I worry I place too much emphasis on my stories. I worry this stops me fully engaging with the present.

And I wonder whether one day I can find a way to escape my stories altogether.