[QUOTES]

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’ 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', Art & Architecture Journal, issue 66/67; indepth article on Arcade, 2008

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. How could this much sweetness be so wrong?
Waldemar Januszczak, review of 'A Duck for Mr Darwin', The Sunday Times, Culture, 26 April 2009

The curatorial framework around Welcome to the Neighbourhood is based on developing community involvement and understanding how art might be produced and experienced in [Askeaton], whilst concurrently supporting the production of new artists' projects. [W]e work to continually redefine what might be possible each year: this is important to conceptually push artistic activity in the area. Andrew Dodds produced and operated Ask FM, in the form of a pirate radio station broadcasting from a secret location in the town. It featured recordings and interviews with local musicians and individuals who are involved in local community structures such as Askeaton Civic Trust and local Credit Union. Andrew's work resonated the potential talents, ambitions and micro-politics of the town, allowing his participants not just a platform but also a form of gentle subjectivity and subtle validation for their activities.
Michele Horrigan, curator Askeaton Contemporary Arts writing in Visual Artists News Sheet, Sept-Oct 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’ 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.
The Wire, review of Grain, 2007

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, 2007

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' 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.., from the Afterword, 2006