Hans Andersson

Stockholm

March 23–April 22, 2018

Hans Andersson

Untitled, 2018

Mixed media on found paper

380h x 193w cm

149.61h x 75.98w inches

HA076

Hans Andersson 

Untitled, 2018

Mixed media on found paper

25h x 18w cm, 9.84h x 7.09w inches

Framed: 37h x 30w cm, 14.57h x 11.81w inches

HA078

Hans Andersson 

Untitled, 2018

Mixed media on found paper

254h x 193w cm

HA075

Hans Andersson 
Untitled, 2017
Mixed media on found paper
(Detail of the work)
HA075

Hans Andersson 

Untitled, 2018

Mixed media on found paper

25h x 18w cm, 9.84h x 7.09w inches

Framed: 36h x 29w cm, 14.17h x 11.42w inches

HA077

Hans Andersson 

Untitled, 2018

Mixed media on found paper

25h x 18w cm, 9.84h x 7.09w inches

Framed: 30h x 38w cm, 11.81h x 14.96w inches

HA080

Hans Andersson 

Untitled, 2018

Mixed media on found paper

36h x 30w cm, 14.17h x 11.81w inches

Framed: 43h x 37w cm, 16.93h x 14.57w inches

HA081

Press Release

Hans Andersson (b. 1979) fragments time in the layering of his fragile collages, an amalgamation of the past and the future whilst simultaneously freezing them in the present, albeit momentarily. The compositions are a symphony in ode to the transient meditation of movement; they form a chorus with their precise and delicate repetitive patterns. The presence of time, or lack thereof is also noticeable in Andersson’s four meters by two meters’ large-scale paper works, silver and white monad shaped labyrinth drawings.

 

It is with this central act of understating the omnipresent reflection of the current present that Andersson’s work takes its ‘untitled’ form; the works remain headless and unlabeled, as they sit still and delicately in their current state, unburdened by language. Taking form from the forgotten and disregarded, the works are densely packed with both personal and collective history. Andersson – chooses to deconstruct a narrative, making the nonlinear a subtle journey. The fragile collages formed on found family albums from Beijing, can be nuanced as such. 

 

The sincerity and honesty that can be found in the Japanese Mono-ha movement is inspired throughout Andersson’s work, a timeless trial of ‘not making’ but rather the intuitive motion in the artists’ ability. A proposal where objects acquire meaning and are given shape through space and location, again the narrative is left to the viewer. It is in Andersson’s large-scale paper works, which have taken over three years to create, that one really questions the acceleration of production and consumption. The artworks, Tipp-Ex drawings on paper food shopping bags, consciously construct a mirage of shapes. And the double exposure seen in Andersson’s work, form a multi-faceted muted composition.  

 

Andersson lives and works in Stockholm, where he graduated from Konstfack University College of Arts, Craft and Design in 2005. His work has been shown extensively in solo and group shows including Tsingua Art Museum, Beijing, China and Marabouparken Konsthall, Sweden. His work is represented in several public collections such as the Malmö Art Museum and the Swedish Association for Art. Major public art commissions include Kalmar Hospital in Sweden.

 

The exhibition is accompanied by an artist book release, written by Christine Zyka and a sound collage performance with singer Sofia Jernberg, on April 14, 4–6pm at Galerie Forsblom, Stockholm.