Andrew Hewish

Andrew Hewish is a highly accomplished figure in the contemporary British art world, distinguished across his multiple roles as an artist, senior lecturer, curator, and the founder of a major institutional charity. His practice is deeply rooted in critical theory, material process, and the history of drawing. He was awarded a British Empire Medal (BEM) in 2020 for his contributions to the arts.

Academic and Institutional Profile

  • Academic Leadership: Hewish is a Senior Lecturer and Coordinator of Critical Contextual Studies (Art & Photography) at London Metropolitan University. His robust academic background includes a PhD from the Royal College of Art (RCA), an MRes from the London Consortium, and an MFA from UNSW. He previously held the position of Visiting Academic at Oxford's Ruskin School of Art.

  • Founder & Director: He is the Founder and Director of the Centre for Recent Drawing (C4RD), a UK charity dedicated to the research, exhibition, and promotion of contemporary drawing.

  • Curatorial and Engagement: His curatorial experience extends to public programmes for the prestigious Warburg Institute, and he contributes to the literary arts by sitting on the board of The Poetry School.

Artistic Practice and Critical Focus

Hewish's artwork, which includes drawing, painting, collage, and sculpture, is known for its conceptual approach and its unique material focus. He explores the "material unknowability" of processes and the concept of 'drift'—the subtle shifts and networks that emerge between objects and materials over time. He creates mnemonic imagery, where visual forms aid memory and conceptual connections.

Contributions to Aleph Contemporary

Hewish has been a key figure in Aleph Contemporary's programme, contributing critical essays and curating exhibitions that articulate a distinctive philosophical vision for contemporary art, often linking historical painting theory to current practice.

Role Exhibition/Text Key Analytical Focus
Curator A Little Closer (March – April 2023) Centred on the enduring influence of Paul Klee, the exhibition celebrated "visual invention," arguing for a practice that risks success and failure in the pure act of making.
Curator Field Notes (October – December 2022) This exhibition explored the "resonances" of artists' observations, using collage and a "collage of languages" to create "soundings of our times." Hewish referenced Monet’s wartime practice as an example of producing works that "envisage the better part of ourselves in a difficult world."
Writer (Introduction) Variations on World Making (Jacopo Dal Bello, June 2020) His essay analysed Dal Bello's work as an "auto-poetics," noting the tension between conceptual play and material force. He discussed the use of historical notation (Twombly, Bacon) as a serious "challenge" to the possibility of the 'new' in painting.

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