Sandy Logan returned to his native city of Charleston, South Carolina, in 1970 after growing up in Philadelphia. He received his Bachelor of English and History of Art at Cornell University and his Master of Architecture from University of Pennsylvania. He has practiced architecture in Charleston for the past forty years, has served for nine years on the City's Board of Architectural Review and eight years on the Drayton Hall board, a National Trust Property, and is currently on the board of Redux Contemporary Art.
His interest in photography began during architecture school, piqued by the West Philadelphia train yards and the industrial plants by the river. He then commenced a career-long investigation into the close detail of not only the built environment but also the waste of our expanding access to products and the consequences of our continuous misuse and subsequent abandonment of them.
He has published two books, "From The Edge" and "Further From The Edge," on these ephemeral and elusive subjects. He has also published a study of the more bizarre aspects of Ocean Boulevard in Myrtle Beach, called "The Grand Strand - A Day In The Life."
He has had one-man Piccolo Spoleto Festival shows at the Dock Street Theater, the Urban Design Center and the new gallery at the Piccolo Spoleto headquarters. He also has had one-man shows at the North Charleston Performing Arts Center, the Arts International Gallery, two shows at Earthfare Gallery, a two-man show at the Corrigan Gallery and at The Art Institute as well as one at the gallery in Wilmington, North Carolina. While at this Wilmington show, two of his pieces were acquired by the nearby Cameron Museum for Contemporary Art, to be included in their permanent collection. He also has given lectures to SCAD, Redux Center for Contemporary Art, and the Charleston Center for Photography. Two years ago he had a show at the Burroughs and Chapin Museum of Contemporary Art, which included siting a lecture on his work.
"It is perhaps one thing to render an object so closely that it then becomes withdrawn from all that defines it, in terms of, first, context and then, purpose. This is the beginning of abstraction, but not the end point. The physical objects in my work are merely steppingstones to an inner world where the object, with the help of the subconscious, drives and focuses perceptions, which then become transmuted into symbols for the emotional content of that object, thus imparting that image with humanity, if not human meaning." SL