Andrew Roberts doesn’t want to tell his audience what to think. He wants to confuse them instead. 

Born in 1995 in Tijuana, Mexico, Roberts is a multimedia artist that blends video games, film and 3D-printed sculpture with horror, fantasy, science fiction, pop culture and a touch of humor. Roberts creates worlds where orcs fall in love and zombie teenagers dance.

Raised in a family of engineers, Roberts hung out in his father’s workshop after school and played with 3D softwares. His mother, a horror fan, would drive around Tijuana with Roberts in the passenger seat listening to “La Mano Peluda,” or “The Hairy Hand,” a radio show where listeners call in to share scary stories at night. 

Roberts attended a traditional art school, but his true interests lay elsewhere. He watched tutorials online to teach himself 3D softwares. Roberts’ work feels more “honest,” channeling his family’s background in engineering and love for the macabre to unpack themes of memory, pain and the U.S.- Mexico border. 

His work is a modern take on the storied tradition of Latin American artists using horror elements to explain real, complicated and difficult issues. Roberts builds upon the border art movement of the 90s, but with a new aesthetic. In his two 2025 solo exhibitions, Roberts appropriates ghosts and zombies as metaphors for trauma and otherness. He describes his work as both political and playful, using the survival horror subgenre as a lens to view migration. 

At the Fountainhead Residency, Roberts was encouraged to push his ideas further into the abstract. Perhaps zombies are a type of liminal space. 

Roberts lives and works in Mexico City. His work has been shown at Art Basel Miami Beach, the Whitney Biennial in New York City and exhibitions in Mexico City, Sao Paolo, Bogota, Chicago, Athens and Paris.