Bio

Andrew Reach (b.1961 in Miami Beach), spent his formative years in Miami. From an early age he had an appreciation of art, graphic design and Architecture and enjoyed drawing and sketching. By high school, he knew what he wanted to be – an Architect.

In 1983, he moved with his life partner, now his husband, Bruce Baumwoll, to Greenwich Village in New York City and attended Pratt Institute for his Architecture degree. After working in New York, Andrew & Bruce moved to Los Angeles in 1986, where Andrew practiced architecture with Harold Zellman. His projects with Harold Zellman ranged from private residences to creative offices for film directors, editors and advertising agencies. In addition, Historic Restoration projects, with the restoration of the Evan’s house designed by the son of Frank Lloyd Wright, Lloyd Wright and the Yasha Heifetz Studio also designed by Lloyd Wright. In 1997 Andrew and Bruce returned to Miami where his architecture moved towards large-scale buildings as an architect with the firm HOK Architects. As project architect, his last project was The Patricia & Phillip Frost Art Museum at Florida International University in Miami.

In 2003, a spine disease resulted in a spinal fusion comprising more than two thirds of his spine. Starting in adolescence Andrew’s spine began showing signs of a disease known as Scheuermann’ s Kyphosis which over time progressively deforms the spine with an abnormal curvature. Without surgical intervention, the curvature would increase and impact internal organs. His first surgery in 2003 involved a multi-level spinal fusion, T1 (thoracic 1) to L1 (lumbar 1) assisted by rods and screws to correct the curvature.

In the fall of 2004, at the commencement of construction of the Frost Museum, due to complications of the first surgery, he would undergo a lifesaving surgery marking an end and a new beginning; reinvention from architect to visual artist working in the realm of digital media.

Prior to his disability, as an architect practicing a visual art form separate from the sphere of the other visual arts, Reach’s artistic abilities were always in service to the making of buildings. Now he found himself creating art on a computer program as if the works of art had been inside him all along, waiting for the day the technology would come around to realize them.

Reach came to embrace digital technology to create large format works that would be too physically demanding for him to paint.  In his new work, he’s printing on rigid substrates, acrylic and aluminum. Being rigid allows him to cut them on a cnc router, letting the geometry escape the confines of the square and rectangular formats. The ability to cut out the shape frees the geometry to reveal its edges. Unbridled, these artworks speak to freedom, movement and energy.

An outgrowth from Reach’s architecture, the tenants he learned about making buildings; structure, composition and the grid, to name some, are relevant to making art as well and they are his guiding principles. These influences have found their way into his art, compelling him to create geometric constructs in new ways. How can geometric forms be put together to make something new? How can he bind these forms together with infusion of color to make them come alive? These are some of the questions that motivate him. In doing so, Reach has created his own little universe with a visual language that helps him escape gravity. He hopes the freedom his work embodies translates to the viewer in a joyous moment of reflection.

Reach’s work has been exhibited, nationally in solo and group exhibitions including a solo exhibition at the inaugural opening of the Frost Art Museum. His work is in private, corporate and institutional collections, among them the Frost Art Museum Permanent Collection and the Cleveland Clinic Art Collection.

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