Andrew is a documentary and experimental filmmaker whose work moves outward from the core belief that love is a dynamic and complex force of human action. As an activist in Denver, Colorado at the turn of the 21st Century he co-founded Breakdown Book Collective and Community Space, which consistently won “Best of Denver” awards from Westword. While an undergraduate in 1999, he made his first documentary – a critical look at the World Trade Organization protests in Seattle, Washington, and has since continued to make work on social justice issues, including access to health care for low income New Mexicans, an educational video exploring the conflict between Israel and Palestine, and a series of videos used by people with developmental disabilities in helping to obtain employment. He is currently finishing a feature length documentary entitled Roy: Dream Catcher, and currently is in production for a documentary exploring immigration, erasure of identity, and the Woody Guthrie song Deportee (Plane Wreck at Los Gatos).
Andrew holds a MFA in Film and Media Arts from Temple University, a MA in American Studies from the University of New Mexico, and a BA in Political Science from Metropolitan State College of Denver.
I have been working with the moving image for the past ten years, primarily in documentary and experimental forms. Over this time my work has evolved aesthetically, however the core issues remain the same:
- I believe that beauty can change the world–the vibrations emitted by color, sound, and light have a qualitative affect upon the consciousness of the viewer. My work attempts to get the vibration right.
- I believe the personal is political. My work is formed by the tension between the desire to live in community and the solipsistic abyss. Through the process of making a film/video I hope this gap is breached, at least for a moment.
- My approach is highly intuitive. I try and follow the light and listen to the voice when it says, “pull out your camera and shoot.” Conversely, I listen to the feeling that tells me to leave my camera in its bag. This approach is extremely beneficial in working with dynamic human subjects, often in uncontrolled situations. My work uses many forms of the photographic image—still and moving; digital and film. The key component is the story. The technology I choose to use on a specific project should be in service to the narrative, not the narrative in service of technology.
Ultimately, my work is an exploration of human relationships: between myself and my subjects; between my subject and their community; between community and nature; between nature and technology.