Artist Andrew Dodds’s beautiful new book is a marvelous and complex case study in the culture of nature. This lush volume makes a significant contribution to the blooming field of animal studies by highlighting how animals are themselves – how animals are highly differentiated individuals.
Mark Dion on I, Sparkie

This book is a testament to Andrew Dodds’s commitment to offering a new perspective on our relationship with nature and with seemingly fleeting, yet distinctive moments in our recent history. Experiencing this project and hearing this talking bird again, reanimated, does exactly what great artworks do... It shifts our understanding of the things we think we know and creates genuine new insights.
Alessandro Vincentelli on I, Sparkie

The ensemble congeals once the camera is turned off and only then, at the moment of their disappearance, do we hear the diverse and distracted musicians and their music become one. When is an ensemble an ensemble? Is a symphony a ‘thing’? What if a piece of music is performed differently and by different musicians for centuries? Where is its essence, its identity? Frankly, where is it? It might be easier to say, ‘When is it?’ Perhaps music only lies in its score, in the instructions and commands that once inspired conceptualists like Sol LeWitt and LaMonte Young. (Here we can see a similarity with our new sense of ourselves as the product of genetic code.) But numbers and letters, paper and ink do a disservice to the special event of music that occurs in our ears even when other senses are denied to us. Dodds is right, music has much to tell the visual arts about things.
Paul O'Kane, on Alive! in 'The Thing', Art Monthly, issue 356, May 2012

Utilising some of the strategic tools developed by ‘Institutional Critique’ practices from the 1960s onward the actual focal point of the exhibition looked to be the ‘problematic’ role of the artist in promoting cultural regeneration [...] Andrew Dodds’s audio work Adrift takes BBC Radio 4’s Shipping Forecast and removes all the words except that of “falling”. This word punctuates the long silences left through the deletion of the other elements of the original broadcast leaving a trace of collapse. Delivered in the evocative tones of Received Pronunciation, issues around class, decision-making and power are brought to mind. As such Adrift mirrors and reinforces the overall curatorial remit of Arcade itself.
'Arcade: Moments not Monuments', Craig Martin in Art & Architecture Journal, issue 66/67; indepth article on Arcade

The fallacy of reinterpreting the Galapagos's diverse ecosystem as an English landscape from the overlapping eras of Romanticism and Colonialism has inspired Dodds's commission, After the Deluge [...] searing through each of the images is the faltering haiku-like narrative of a dark and disquieting journey. These broken texts haunt our vicarious sightseeing with echoes of Joseph Conrad's Heart of Darkness (1902) and Patrick Keiller's Robinson in Space (1997) each of which complicate the inscription of identity onto an unsympathetic landscape.
Robert Blackson, essay in North + South exhibition catalogue

Greeting us at the event is a choir of little girls eerily singing All Things Bright and Beautiful, in a disembodied sound piece by Andrew Dodds that seems to haunt you wherever you are in the room. The caption informs us that Britain’s first creationist academy has opened in Gateshead. But Dodds is surely not trying to placate the local flat-earthers with this tribute to God’s creatures great and small. Neither is he deliberately seeking to annoy them. Instead, the ethereal voices of the singing kids have a persuasive sweetness to them that successfully fills the show with doubts.
Waldemar Januszczak, review of 'A Duck for Mr Darwin', The Sunday Times, Culture, 26 April 2009

The most successful works tended both to stick close to the site itself and at the same time conjure an invisible elsewhere. While it was easy, as a visitor, to get the sense that this land was somehow moribund without artistic resuscitation, Andrew Dodds’ s Alive!, a notional soundtrack to a horror film, [composed and] performed by local teenagers, reminded us that these edge-lands are also somebody’s backyard, childhood playground and adolescent refuge.
Brian Dillon, Wire, review of Grain

The dream that kicks: transdisciplinary practice in action is a curious collection of works which at once demonstrates and queries its subject. Here, the form is considered in tandem with the content [...] Andrew Dodds's Blood 'n' Guts, is perhaps the most self-reflexive piece. It can be read either as a whole, or as separate works in their own rights; thereby creating a system of works, with multiple entry and exit points, and as such provides an essentially transdisciplinary reflection on the main concerns of this collection as a whole.
The Dream that Kicks.., Maria Fusco from the Afterword