Andreas Eriksson occupies a unique place in both his native Sweden as well as on the international art scene. His paintings are often placed within the tradition of Northern European Romanticism – the subject matter is frequently garnered from the landscape surrounding Mount Kinnekulle, Sweden, where he keeps his studio – but his artwork is just as often the embodiment of an idea rather than a concrete image. A typical feature of his work would paradoxically be to constantly transform and create through mobility where forms of expression always translate themselves into something else. This artistic gesture and newly acquired freedom was something he found when he chose to set up his studio in the middle of rural Sweden. The urge to let the act of creation lead you to unknown places, rather than to follow a specific style, is discussed by Eriksson and Camilla Larsson, curator at Bonniers Konsthall, in this publication. Sara Arrhenius, head of Bonniers Konsthall, discusses notions of time and the contrasting of geographical immobility and material mobility in Andreas Eriksson’s work. Kirsty Bell, writer and art critic, proposes a productive link between the act of painting and the act of memory, where Andreas Eriksson´s works could be seen as material recollections from nature as well as art history. The book with its 32 pages long cover jacket that can be unfolded like a frieze, has been designed by Patric Leo, with the aim of allowing the art a space to both display its place of origin – so closely entwined with the artistic process – as well as the physical space it occupies in the world once completed.
Contributors: Sara Arrhenius, Kirsty Bell, Andreas Eriksson, Pontus Kyander, Camilla Larsson
Editors: Sara Arrhenius, Sofia Curman, Camilla Larsson
Graphic Design: Patric Leo
Published by: Koenig Books, London, 2014