Andrew Grassie began a series of ‘recordings’ as a way of breaking an impasse in his own art-making, an impasse due in part to believing in painting at a time when many did not. Leaving Saint Martin’s and the Royal College of Art, facing the void, he discovered an end-run to the tyranny of content by copying his own earlier work at 1:1, in oil, stroke by stroke. In making forgeries of his own paintings, the content of his painting (or at least their importance) instantly evaporated and only the practice of painting itself remained. This way of working evolved, and soon he was painting droll recordings of the spaces and places of the art world itself—gallery offices, storage areas, empty exhibition spaces, and fictional installations. Meaning and the responsibility implied by content were deferred… Yet even though it is a cleverly discursive tactic, Grassie nevertheless remains bound to Albers, Opalka, Morandi, and On Kawara in a shared faith in a practice of meditative repetition.
– excerpt from Sculpting Time by Steven Holmes”