This sculpture well illus­trates the classic repose and control which exists today, even within the confines of what we normally pigeon-hole as “junk sculpture.” Andrews rummages through the local junk pile of bolts, nuts, and sundry metal parts and then proceeds to compound them into an intensely unified statement––a statement which intriguingly forces us to lose sight of the sources of the individual parts. The general impression conveyed is that of sparse elegance which concentrates almost the whole of its atten­tion on the esthetic problem of form to the exclusion of an avowed social comment or criticism. This is well illus­trated in such pieces as Allegorical Figure and Figure and Shore. An­drews’ ceramic sculptures are decidedly traditional in the best sense of the term, i.e. within the 20th century tradition of Picasso and Lipchitz. From a distance some of these ceramic pieces appear almost as “junk sculpture,” yet they do not in any way lose their close expres­sion of the material from which they are made.

—David Gebhard