Mamma Andersson’s paintings seem to embody a duality that is central to Swedish culture: the interplay of rural and urban aesthetics and the clash of the bourgeois with the everyday. Inspired by theater sets and period interiors, her dreamlike compositions are populated by ghostly figures, shadows, swirling clouds and distant mountains. Andersson¹s use of windows, reflections, and depictions of paintings within the pictorial space is enhanced by the juxtaposition of thick paint and textured washes, creating a setting for vaguely supernatural occurrences. Seemingly pastoral vistas and calm interiors are sometimes violently interrupted by thick black smoke or blocked-out areas- this, coupled with a palette reminiscent of distressed photographs, imbues Andersson¹s works with an unpredictability that is equally disturbing and compelling.

This exhibition will consist of 14 paintings that incorporate a shift toward more domestic interiors and nuanced storytelling. Andersson¹s new works employ a disjointed narrative acted out by human characters as well as personified props such as lamps, tables, chairs, plants, and birch trees, which are all recurring motifs. A highly-intentional cinematic quality is reinforced by Andersson¹s combination of images and painting techniques. In a description of her work, she states, “Borrowing and lending, mixing up to see what happens. A kind of unstructured echo of history, where high and low play on equal terms. Constant attempts to portray reality in a way that is not subordinated to reality.”

Mamma Andersson’s paintings welcome us into comfortable domestic interiors, lush landscapes, and cozy genre scenes just enough to allow their otherworldly air to take hold. Familiarity gives way to mystery as skewed perspectives, irreconcilable spaces, and the impossible coexistence of circumstances penetrate our consciousness. This air of the supernatural is reinforced by Andersson’s technique, as thickly layered paint is juxtaposed with loosely washed areas with deliberately effaced edges. —Carnegie International, 2004.