From the exhibition "Draumkvede", Nov-Jan 2003, Cultural Center De Scharpoord, Belgium
By Tania De Bruycker, Curator and Director of Centrum Goed Werk Gallery

...Finally Andrew Barton tells us he is focusing his attention on the 'inner movements', in a state of mediation. The role being played by the male and female parts of our awareness differ, he says. For that reason he defines the fluid movements of the male body by abstract shapes, moving the essential parts of his body forward ... there is a goal and he will reach it. The female movement is expressed by the cocoon, an old symbol of subtle change from within.
Andrew Barton renewed the sculptural aspects of this theme. The male and female body are constructed in a vivid quite naturalistic way in clay.
The idea behind the sculpture is expressed by the abstract and lower part of the sculpture. The shapes remind us of a cocoon, a fish, a part of a boat. Also, they are made in a different material, often polyester.
The complete sculpture gives the impression of an assemblage of two different sculptures. This makes the sculpture at once peaceful and dynamic, classic and futuristic, silent and restless: It expresses exactly the feeling people today experience living with their human nature in the actual civilized, industrial society.

These strong pieces with their mix of meditative inner life and expansive outer action take the attention of every, even accidental passenger.

From the traveling exhibition "Norwegian Clay", China, USA, and Norway
from 2003-2005

By Ronald Andrew Kuchta, curator and editor of American Ceramic magazine

...Figurative expression is where I place two quite distinctive Norwegian artists in this exhibition...

As for Andrew Barton`s figuration, an equal preoccupation with the body is evident. In his case the human body or body fragment is expressive of the natural body`s existence versus the impinging world of machines that drain life`s fluids out of the body or otherwise affect the body`s health in strange ways.
Barton`s work often depicts instruments that project into the human body, changing the nature of the being itself-creating a surreal contrast between the body and the cold machine-like instruments that intrude into it and irreversibly change its nature.
To Barton`s work I compare the work of
Damien Hirst, as in " The physical Impossibility of Death in the Mind of Someone Living" made of glass, steel and tiger shark in 5 per cent formaldehyde solution of 1991. From the ceramic sphere I suggest a comparison with the more fantasy-like figurations of the Californian ceramist, Arthur Gonzalez as in his work "Savoy"
From "Clay based contemporary Art in Norway"
By art historian Holger Koefoed

Andrew Barton has produced a series of sculptures he calls" Liquids". Several of the pieces combine the grotesque and the beautiful with a portion of morbid humor. In the case of "Hypothesis" there is a large portion of self irony evident. Beneath this strange fountain like head over a thick white liquid in constant circulation there is a text.

"Considering a normal rate of one a day. Over a period of fourteen and one half years. At an average of two milliliters per ejaculation. This being the basis for my hypothesis: I have expended eleven liters of sperm on my fellow females, the number being irrelevant. I am still a single male without offspring."

In other words, a reflection on a specific state of being, for example at the end of a relationship. A slightly sad male head, a sort of self portrait, seems to be constantly recirculating a spermish liquid. The sculpture is framed inside its glass case mounted on a base, and is thereby reminiscent of some of Damien Hirsts work. According to Sigmund Freud, art and sublimation have a lot to do with one another, and can explain some of the surrealist aspects of this sculpture in all of its male melancholy. The sperm has"gone to the head" of this young man, and thus, with continued reference to Freud, it seems perfectly obvious that one must create an artwork out of it!


Article by Curator Tania De Bruycker,: Cultuurcentrum Knokke-Heist

Article in Horror Magazine- "Norvegia di sangue e tenebra"

Article at: It`s art baby! art!,  "Bodily Fluids"

Article from the Norwegian magazine Plan B, June 2003

Newspaper fragments 1997-1998, Dagbladet and Aftenposten

Wikipedia- online  encyclopedia

Om Barton og noen av skulpturene, Janne Pedersen fra Høgskolen i Vestfold

Dailey - an international forum for the exposure of contemporary art

2008, Represented in book: 
Confrontational Ceramics by Judith S. Schwartz

"Om kunsten min", spørsmål stilt av KHIO kunststudentene Magnie og Torgrim, 2009

Hombres, mujeres y sus pecados (Andrew Barton), 2009

Paperblog- Andrew Barton, par Rudy

Varden: Raulandsutstillinga 2009

Stat og Styring 03/2009

Bang Art Magazine, issue 5,  Feb 2010 
feat "Firestarter"

ChickenRhino Magazine 2010, issue nr 1, feat
"Traveller" and "MASA"

Interview with Andrew Barton at El Poeta Magazine, April 2011

"Protection" Libertarian Magazine w. Andrew Barton and Emil Alzamora Aug 2011
Round Arrow
Bartons moderne mytologi
av Lars Toft-Eriksen

"Det mest moderne i vår tid viser seg ofte å være det mest arkaiske," skrev en gang den amerikanske poeten Guy Davenport. Nettopp denne tvetydigheten eller dialektikken mellom det moderne og det arkaiske går igjen som en rød tråd i Andrew Bartons skulpturer.

Hele teksten her.
In Norwegian here.
cool British site
From the essay "Original?"
Essays 1996-2000, Andrew Barton

.......We are simple creatures. We like the familiar. To be honest, we also like change, but only in small doses.

Let us for a moment compare art to an ice cream cone. We all like ice cream, and it might really make your day to try the newest flavour on the market; cherry-doughnut-banana cream. But if an ambitious ice cream maker tells you to shove it up your arse and clench your lips together, and that this will give you the ultimate ice cream experience - well, most people would hesitate.

Most original art work is probably lost due to this phenomena. The art work we recognize as being original is mostly a variation on an established theme. Picasso and his cubism was earth shattering at the time, but today we see how even he was bound by his classical training. Artists trained in classical sculpture and painting know that cubist shapes are the base for all compositions.

The only original art of this century was created by  Duchamp and the Dada movement. They told us that a pisoir could be art, that a bicycle wheel was art, all that needed to be done was to place it in the proper setting, the gallery or museum. That the movement collapsed on itself within a decade is irrelevant. The important message was already there. EVERYTHING CAN BE ART.