Works

“Scott Andrew’s media design is cheeky and sly, using video in myriad ways to demonstrate the ineptitude and hollowness of the oppressive regime. His clever conceit seems to be that in this fictional scenario, in which the powers-that-be set out to control the image at all costs, no one seems to know how to properly operate a camera – all of the images we see are fragmented, impartial, obscured, effaced, or frozen.

One of the funniest examples of this comes during the early part of Yasmine’s interview with Ishtar, when Elish frames the shot such that the media logo fully obliterates Yasmine’s face, thereby erasing the representative of the people from the broadcast. It’s in moments like this that the play’s satire and cynicism most effectively captures how dictatorships operate. Depressingly, such a depiction feels all too timely.”

– From “First Lady” at PICT Classic Theatre, The Pittsburgh Tatler, Pittsburgh, PA, by Wendy Arons, Oct. 2025

“The recent Netflix drama Severance has set a high bar for treatments of the corporate workplace, but artist collective The Institute for New Feeling were exploring this territory a decade ago. The formation dance scenes in their video Group – A Corporate Teambuilding Retreat (2013) are not as polished as the various office entertainments devised by Milchik, Lumon’s satanic enforcer, but they have a similarly coercive spirit, and their amateurism may yet prove a more accurate satire of workplaces of the future. Picture a cross between line dancing, callisthenics, rave, drug trials, with participants – surely recruited from the artists’ own milieu – whisked off to a corporate Shangri-La where work and recreation have merged: where ‘working’, ‘partying’, ‘producing’ and ‘consuming’ are all coterminous. Dressed like The Kids from Fame, the artists act as shamans in a sort of industry training video, at one point feeding participants Odwalla superfood bar in a ritual that feels like a sacrament. In this utopia, there’s no need for a Severance-style division of the human subject into a working and non-working self, cos everyone seems, like, so happy?”

– From ‘Harder, Faster, Better, Stronger’ at Stephen Lawrence Gallery, Greenwich University, London, by Simon Willems, Aug. 2025

"Scott Andrew’s expertly designed projections of still images of Madonna and Graham cover the large rectangular acoustic panels. The two women gaze intensely at something just out of frame, their feet are muscular and planted, they are draped in voluminous folds and in tight jersey. The resemblance between the two is undeniable and striking."

– From 'A New Regality of Order: Jesse Factor's Marthaodyssey' Petrichor, by Elise Ryan, Nov. 2024