My work, which includes sculpture, installation, drawing and photography explores the meeting points of sculpture, architecture and craft. All of this reflects an interest in materials and place and the landscape in all its forms. I often work in international situations where my work is usually collaborative, for example recently working with brick makers and bamboo breakers in India as well as market workers in Kampala producing 'banka y'ekka - money boxes - and brooms and brushes. These objects and the processes behind their manufacture become the roots for new sculptures.
Recently I have been working with a group of designers and artists to find new approaches to representing place through ‘mapping’, focussing on a local market in Goa, India.
Andrew Burton's research is about material, process and form. He works with materials as various as chilli peppers, bamboo, clay and cow dung - often exploring how these materials can work in combination with each other. Much of his work is collaborative: in 2011 he worked with a group of village women from farming communities around Delhi to create a group of 'bithooras' - extraordinary cow-dung structures based on fuel stores found on the periphery of Delhi for the National Craft Museum in Delhi.
Much of Andrew's work experiments with reclaiming, recycling and re-use. HIs sculptures are often conceived as temporary structures – after a form has been resolved it is broken up, with the component parts salvaged to form the building blocks for the next work. His sculptures made from miniature bricks are painted or coloured before they are dismantled. Over time, and as the bricks are formed into many different sculptures they gradually acquire on their surfaces a patina of the scraps of paint, cement and glaze that still remain. These surfaces convey a sense of their own history, alluding to the way in which over history architectural structures have anticipated our current concern with reuse.
His work explores scale, referencing both monumental and day-to-day structures. In its emphasis on the re-use and recycling of his own sculpture, the works provoke questions about the nature of monumentality and tensions between conservation and sustainability.