THE SHOPHOUSE is pleased to present WINDOW, a solo exhibition by American artist Andrew Gordon featuring a new body of works on canvas that dance on the line between introspection and extrospection. Central to the artist’s practice is an inverted theory of the “view from nowhere”, wherein he removes the objective world rather than the subjective self. Manifesting in a series of windows that peer out into ambivalent places, his practice imagines the landscapes of one’s mind, feeling, and consciousness.

The classic interpretation of the “view from nowhere” refers to the notion of achieving an objective view of the world via the distancing of oneself from personal starting points, namely the ‘here’. Yet under the brush of Andrew Gordon, the idea is reinterpreted to remove the ‘there’, leaving only an inward view of the self. His paintings each comprise a grid of partially open frosted windows that reveal vaguely familiar landscapes, providing only a setting of domesticity and a visceral portrayal of atmosphere. As if a picture seen from the mind’s eye, all views from an intimate interior space become a representation of the one’s inner state of mind – as the artist puts it, “eventually the details slip away, and what remains is the feeling.”

Simultaneously, contrast is formed between the artist’s soft, hazy imagery and his use of clean and rational grids. Within each artwork, the window serves as a looking glass through which one’s perception of the world is framed, tinted, and structured. Alluding to the notion of personal systems of comprehension, the idea of ‘nowhere’ in Gordon’s artworks is reflected not only in the view beyond the glass, but the shapeless consciousness that sees it.

THE SHOPHOUSE欣然呈獻美國藝術家安德魯·戈登（Andrew Gordon）首次個展「窗」（WINDOW），展出一系列在內省與外觀之間遊走的作品。藝術家的創作核心來自對於「本然的觀點（view from nowhere）」（即發自無處的視線）的反向理論。在這種反向理論中，他移除了客觀世界，而不是主觀自我。通過一系列的窗戶向外窺視矛盾之處，作品想象了一個人的思想、感覺和意識所匯集而成的圖景。

「本然的觀點」的經典詮釋是指通過遠離個人的視角，即「這裡」，來呈現對世界的客觀看法。然而在安德魯·戈登的筆下，這個概念被重新解構——去掉了「那裡」，卻只留下了對自我的主觀看法。他的每件作品都是由部分打開的窗戶組成的網格，展現某些模糊卻熟悉的風景，只提供了對家庭生活及氛圍的直覺性描繪。畫作仿佛從心靈之眼看到的一幅畫一般，一個親密的室內空間看到的所有景色都成為一個人內心狀態的表現——正如藝術家所說，「最終所有細節都會消逝，留下的是感覺。」

藝術家柔和且朦朧的意象和他使用的利落且理性的網格之間形成對比。在每件作品中，窗戶就像一面鏡子，人們通過他對世界的感知被框定、著色和結構化。暗指個人理解系統的概念，安德魯·戈登作品中的「無處」（nowhere）的概念不僅反映在窗外的視野中，更反映在觀看它時產生的無形意識中。