Andrew Roberts

Bio

Roberts incorporates elements from gameplay, roleplay and worldbuilding into his multi-platform practice, recognizing in these mechanisms a cultural structure where consumption and production become one.

Exploring the material dimension of horror, Roberts’s digital animations, installations, sculptures and poetry treat colonial agents as possessed images and haunted spaces. He is primarily concerned with representational systems, and the geographical tensions between Mexico and the United States of America.

Lives and works in Mexico City

Andrew Roberts incorporates elements of roleplay, gameplay, and worldbuilding into his multiplatform practice, recognizing in these mechanisms a cultural structure where consumption and production become one. By exploring the material dimension of horror, Roberts’s digital animations, installations, sculptures, and poetry treat colonial agents as possessed images and haunted spaces. He is primarily concerned with systems of representation and the geographical tensions between Mexico and the United States of America.

Solo exhibitions (selection): Haunted, SCAD Museum, Savannah (2025); Cadáver fantasma, Museo Universitario de Arte Contemporáneo (MUAC), Mexico City; Tank (traveling exhibition), Museo de la Isla de Cozumel, Pequod Co., Mexico City (2023); Necromancer, House of Chappaz, Barcelona (2022); A House on Fire is a Ghost, a Factory on Fire is a Specter, Best Practice, San Diego.

Group exhibitions (selection): Otherwise, ICA Maine (2025); 36th São Paulo Biennial: Not All Travelers Walk Roads - Of Humanity as Practice, Ibirapuera Park, São Paulo; Rooms, Plataforma, Guadalajara; Whitney Biennial: Quiet as It’s Kept, The Whitney Museum of American Art, New York (2022); Rock, Island, Glacier, Jumex Museum, Mexico City (2021); 7th Athens Biennale: Eclipse, Athens.

Collections: MUAC, Kadist, Yuyito, Fundación M.