The idea of home is commonly understood to be the culmination of the desire to find stability and refuge in a physical object or place. We express our attachment to this idea through our tendencies to fill our homes with elements that transform them into an expression of our personalities and aspirations - a haven for our internal selves. These works are attempts at piecing together materials and scenes that offer the illusions of a comfort which is perpetually grasped for.

Houses, walls, doors, and other motifs repeat themselves among paintings comprised of textile scraps, and sculptures made of drywall. Elements of domestic display, decoration and detail are often used, as well as votive images and iconography. Fragments of these materials are used as building blocks to realize this idealistic version of a home as as quickly as possible. Here we see how the artist’s method of construction and physical tendencies are derived from constant states of disquiet. Methods and materials that are used to build homes are strictly calculated and compiled to ensure stability and strength, protection from weather and damage. Yet he compromises this, defeating the principle of a properly built home by incorrectly and haphazardly altering the methods and applications of materials involved in constructing houses.

Mental burdens, states of panic, and anxieties are all built into physical form, becoming the anatomy of a house-- a medium through which emotional conflict, aversions, and fear are realized. Thus, the fragments and their arrangements allow the idea of the emotional haven to collapse, revealing the impossibility of something on the physical plane to provide refuge.

In Immediate Occupancy, Hunczak draws into interiors as spaces of tension. The large canvases are constructed with a physically intensive process of sewing together scraps and fragments of old paintings, the pieces ranging from tiny to large in size. They are stacked on top of each other, compromising and invading each other's space and form.

This exhibition marks the first time the artist is showing his drywall pieces. Pieces of drywall find themselves intruded and extruded on top of one another, encrusted, embedded, etched into, layered, caulked, insulated, spackled, and nailed. These pieces are composed of remnants of an imagined state of life.

The process and reach is a constant and on-going exercise, not a means to an end.

Andrew Hunczak (b. 2000) is a painter and sculptor living and working in Brooklyn, New York. Hunczak uses discarded canvas and building materials to construct works that encapsulate feelings of fear and anxiety.