Andrew Ryder was born in West London, and trained at a succession of art schools including Hammersmith, Winchester, Leicester and Goldsmiths, finally completing his education at Birkbeck College where he studied finance. "I became thoroughly tired and irritated by academics" he says.
Andrew invests in and assiduously follows the financial markets each day while... working in his studio. The blend of sensitive artist and pure common sense find common ground in the discovery of what is fundamental and decisive in investment and art. Though he admits there are never any absolute solutions in either.
Andrew Ryder works with colour, light and movement. The work is pared down to its fundamentals, the things that count, the things that actually do something concrete and the things he feels passionate about.
The 1960s optical kinetic work of the Zero Group in Germany and the South American artists of the GRAV group in Paris had a profound influence on Andrew Ryder as a student in the 1970s. They were artists who believed they could communicate without an institutional or political context. Similarly he rejects pretentious reasons for his work. What you see on the wall is all there is.
His work often has physical or kinetic elements and intense and colourful light sources which bring it to life. Using magnetised elements, miniature electric motors and LED's his work is as technically challenging as it is visually stunning. Some of this is based in science but mostly it is the sensual seduction of light and colour itself.
In recent years his work has been more concerned with space, depth differentiation and twilight colour perception. Specifically an exploration of the Purkinje Shift, which is a colour perception anomaly that occurs at dusk. He began by integrating depth and space with differential illumination using three-dimensional LED light arrays. The large light arrays and smaller wall-mounted light constructions, actually create a much larger visual event on the surrounding area of the supporting walls.
He does admit to being influenced by the change of the seasons. He finds types of work that are suitable at the height of midsummer are unsuitable in the depth of midwinter. Long hours spent in the studio also suit certain ways of working. These often profound physical influences shape his working method.
He has maintained studios in London since 1977 and has been represented internationally by several galleries since becoming a full time artist in 2003. His work is held in private collections worldwide.
His most recent solo exhibitions are Ancient Gods - Colour & Light at the Jonathan Ross Gallery, London. As well as exhibitions, Andrew has worked on many films, including A Christmas Carol, Wind in the Willows and Who Framed Roger Rabbit.