Nick Andrews

Nick Andrews (°1972, London, UK) is a painter known for his vivid, narrative-driven works that blur the boundaries between figuration, abstraction, and theatricality. He lives and works between Antwerp, Belgium, and Saint-Bonnet-Tronçais, France. From 1992 to 1996, he studied painting at the Royal Academy of Fine Arts Antwerp (KASKA), where he has been teaching since 2008.

Andrews’ work is shaped by a deep interest in literature, film, history, and travel. Drawing from both high and low culture, he creates colourful, imaginary worlds in which the boundaries between illusion and reality dissolve. His compositions are constructed using the principles of the colour wheel, resulting in expressive, layered scenes full of symbolism, emotional contrast, and narrative ambiguity. A recurring figure in his oeuvre is Champagne Charlie, a decadent alter ego who moves through his theatrical universes.

His paintings have been exhibited widely, both in Belgium and internationally. Notable solo exhibitions include Within Me at De Warande, Turnhout (2015). Group exhibitions include Sanguine | Luc Tuymans on Baroque at Fondazione Prada, Milan (2019), and Salon de Peinture at M HKA, Museum of Contemporary Art Antwerp (2019).

In 2004, Andrews was artist-in-residence at the Cité Internationale des Arts in Paris. In 2008, he was invited to participate in the Beijing International Art Biennale in China. In 2010, he was awarded the laureateship of the Royal Flemish Academy of Belgium for Sciences and the Arts (KVAB).

In 2024, he expanded his artistic practice into theatre, designing the scenography and actively contributing to Monopolis, a production by Theater Zuidpool.

His work is part of several public and private collections, including the Flemish Parliament, the University of Antwerp, the National Lottery of Belgium, TAMAT—Musée de la Tapisserie et des Arts Textiles in Tournai

SKU: nick.andrews@ap.be Category: Onboards_25

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Herr und Hund II exemplifies Nick Andrews’ figurative and expressive approach to storytelling through paint. Drawing inspiration from Thomas Mann’s novella Herr und Hund, the work blends memory, fiction, and observation into a dreamlike tableau. The scene unfolds in a lush, theatrical space where the relationship between man and dog becomes a metaphor for loyalty, solitude, and the quiet rituals of everyday life.

True to Andrews’ style, the painting balances narrative and abstraction. Figures and surroundings dissolve into vibrant brushstrokes and shifting planes of color. The dog, central to the composition, acts as both companion and symbol, grounding the image in emotional intimacy. At the same time, visual references to Steinbeck’s Travels with Charley introduce a sense of journey and inner exploration.

Andrews’ dynamic use of color—dominated by rich contrasts and melancholic hues—enhances the painting’s atmosphere. Layers of paint suggest movement and memory, while subtle distortions blur the line between reality and reverie. Herr und Hund II invites the viewer into a world where time slows down and meaning is found in fleeting gestures. As in much of Andrews’ work, beauty and decay coexist, and narrative emerges not through clarity, but through emotion and suggestion.

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