TheatreArt, His Mask

Written by Andrew Aue, translated by Matthijs van Eijk, adapted by Nicole Storms - Author of “The Effervescent Frank Lloyd Wright”.

“What drives Andrew’s passion for designing, in order to look for profoundness, for depth, in our contemporary society?” As a designer, the individual has been the centre point of his artwork during the last decades. The movement of acting, the space of lines, the experiencing of music and the seduction of expression. Where else, than in the world of Theatre.

Did Andrew enter the surfaces of disguise? Is he consciously or unconsciously looking for the layers of the group in the individual? Persona! Allow him to describe his process in order to understand “TheatreArt”.

Experiences teach us the loss of open-mindedness, of focal points? Andrew does not wish to be a mere questioner. In a dynamic world of creativity, the coming into existence of (un)foreseen images will increase as time passes by. His thoughts will be slowed down by the youth in and around him. His thoughts increase, strengthened by the passion of professionals in Theatres and by the process of (t)his energetic construction.

Are emotions formed by one’s own experiences? Learning to think differently ... maybe, or not-so-maybe, ... may be. It is important to have an open mind. Changing the way one uses one’s senses has a profound impact on the artist and ensures renewal. In this regard, Andrew consciously changes the layers within himself as an artist, which enables him to remain true to himself via – of course – his divers and endowed works of art. In life too.

The interpretations of lines become basic forms that – in their togetherness - form a setting for light, colour and movement. The dynamics are also obtained by the speed with which lines and colour areas are placed. The architectural, angular forms create an image of brightness and strength. The colours have their own character and communicate with each other through their wilfulness. The colours’ playfulness is frisky and pure in simplicity - although the real colour remains unobserved. Colours do evolve out of the brain, the exact same way a work of art finds its origins. Out of primary instinct, Andrew uses colours as pure as possible and underlying layers are made visible by using basic forms, rhythms and contrasts to emphasize the painting process. The actual experience in an imaginary world.

The end result - evolving out of exploring and expanding limits - is the actual “product”. Something extraordinary can thus be composed: in a concept, a tone, a sound, a colour or a description, in an observation altogether. Repetition is done on purpose, often surprisingly expressed in a different way Andrew initially intended. The Art of the Theatre, right?