For the past decade, Andrew Blanchard’s work has volleyed between personalreflection and objective reportage. Blanchard’s screen-printed paintings touch uponprickly issues such as boundaries and division, as well as the balance that can be foundby summoning childhood nostalgia. Mother Nature’s will coupled with humanity'sunhinged imbalance often share space within his works, indicating that notions ofbrotherly love and community activism are plagued when partisanship overshadowscivility. For the sake of finding inner-peace amidst the past few turbulent years andbeyond, he has employed Southern literature to establish sociolinguistic-basedcompositions in conjunction with his documentary-like imagery which communicatefortitude, self-reliance and the DIY nature of folks below the salt line. Lost memory,possessions, spent time, and betterment are present in his work and are as much of anhomage as well as a purge. Double entendre is ever more present in whichpseudo-religious, quasi-political, and racial curiosities rest below and rise just above thesurface-texture embellished by a hybrid of paint, print, and photographic processes andtechniques.