Andrew Giffin's art can be found in homes and corporate collections worldwide.

Andrew Giffin's work is in high demand. It's often auctioned at prestigious charity and conservation fund-raisers, including the Atlantic Salmon Federation, Trout Unlimited, CNIB, Miramichi Salmon Association, AIDS Saint John and The Hammond River Angling Association.

One of Andrew's paintings was auctioned at the 42nd Street Cipriani restaurant in New York City in 2002 where Tom Brokaw was the Master of Ceremonies.

Andrew has also created specialized set work and art for several movies. Read the story of the portrait of James Brolin that Andrew was asked to do for the movie Marriage of Convenience starring Brolin and Jane Seymour. Another movie that Andrew did art for was A Woman's a Helluva Thing starring Angus Macfayden, Penelope Ann Miller, Ann-Margaret, Kathryn Harrold, directed by Karen Leigh Hopkins. Additionally, Andrew created art for Woman Wanted starring and directed by Kiefer Sutherland.

Read about these and other stories in the Movie Art section.

Andrew says:

I am an artist deeply influenced by my natural surroundings. Originally from the Maritimes, I moved to the province of Manitoba in 1981. I left behind a world whose intimate coastlines, rolling hills and meandering streams gave way to a boundless prairiescape with impossibly immense skies, and a northern wilderness with mile upon mile of sprawling lakes and primal forest.

When I tackle a landscape painting today, my aim is to communicate not just the physical detail, but the atmospheric elements, the hidden forces that permeate the land and air and determine the quality of light, and our emotional response to the subject. A good landscape rendering is an environmental snapshot, a captured moment conveying palpable hints of an actual place in a specific time. The hour of the day, the temperature, even moisture levels, should the theory be as readable to the viewer as the depicted topographical detail.

As a sculptor, I try to push barriers. I delight in recombining found materials into whole new objects, altering the DNA, so to speak, of discarded natural or synthetic materials to create fresh associations and new meanings. I am always experimenting with new framing formats for my landscapes, applying sculptural techniques to explore different ways of augmenting the two dimensional image and its effect. Elsewhere, when I undertake portraits, figurative studies or still-life interiors, I am always conscious of the play of abstract elements in each case. The shapes, relative densities and linear forces that describe a given setting - these are qualities whose manipulation in the construction of an image can add dramatic new meaning to the simplest subject.

As an artist I make no apology for wanting to spread my energies across such a wide spectrum, for embracing so many different materials, mediums and subjects. My eclectic impulses may be a source of frustration for those critics who insist on ready categories and labels for art, but I believe diversity is an essential virtue in this age of over-specialization. By embracing variety, the art remains fresh, and the artist more readily open to change and discovery.