Title: Sweden: Windows, Trees and Inbetween
Artist: Andreas Eriksson
Curator: Magnus af PetersensVenue: Giardini
Several of the paintings Andreas Eriksson has produced for the Nordic Pavilion are based on the Renaissance notion of the canvas as a window. The paintings suggest nature seen through a window, with distortions and reflected light from an abstracted landscape.
The shadow paintings were made after photos of shadows cast by headlights of passing cars on an indoor wall of his house. Andreas Eriksson has depicted the shadows on a panel using paint without binding agent before letting a car painter spray-paint them. The pigment without binding agent is dissolved and comes through to the surface of the top paint layer while it is still wet. The interplay between outside and inside in these paintings, where the panel represents the window between them, is also a reference to the architecture of the Nordic Pavilion.
The bronze sculptures are casts of birds that have died crashing into the artist’s studio window, deceived by the reflections in the glass panes. Like painters, they interpreted the flat surface as an opening into a three-dimensional space. Andreas Eriksson has also made casts of molehills from his garden. The white plinths replicate the floorplan of his house, studio and the shed in the garden. In this way, the works in the Nordic Pavilion refer both to the place where they were created and the place where they are exhibited.
Title: Sweden: Windows, Trees and Inbetween
Artist: Andreas Eriksson
Curator: Magnus af PetersensVenue: Giardini
Several of the paintings Andreas Eriksson has produced for the Nordic Pavilion are based on the Renaissance notion of the canvas as a window. The paintings suggest nature seen through a window, with distortions and reflected light from an abstracted landscape.
The shadow paintings were made after photos of shadows cast by headlights of passing cars on an indoor wall of his house. Andreas Eriksson has depicted the shadows on a panel using paint without binding agent before letting a car painter spray-paint them. The pigment without binding agent is dissolved and comes through to the surface of the top paint layer while it is still wet. The interplay between outside and inside in these paintings, where the panel represents the window between them, is also a reference to the architecture of the Nordic Pavilion.
The bronze sculptures are casts of birds that have died crashing into the artist’s studio window, deceived by the reflections in the glass panes. Like painters, they interpreted the flat surface as an opening into a three-dimensional space. Andreas Eriksson has also made casts of molehills from his garden. The white plinths replicate the floorplan of his house, studio and the shed in the garden. In this way, the works in the Nordic Pavilion refer both to the place where they were created and the place where they are exhibited.
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