The afterword to this catalogue of an exhibition is more helpful than the introductory essay. Here, we learn that Andersson’s paintings are loosely based on her photographic archive and are a link between the central focus of the 2018 FotoFocus biennial and the thinking behind painted art. As the rest of the book is simply a collection of images, this is helpful, especially for those not familiar with the context or the artist’s work.
The introductory essay attempts to achieve in words what the paintings do visually. In this, it is only partly successful. Broadly elegiac, it draws comparison with the crumbling Vasa galleon that was raised from Stockholm harbour in 1961 without modern conservation techniques. Kevin Moore uses this comparison to examine how the imperfections of human memory can be traced through a painting created from a sharp photographic original. Actually, having written that, I’m starting to get an idea of where we’re at, but the original is hard work (ironically almost a reversal of the process involved with the images). It’s fair to point out that the essay isn’t a direct attempt to explain the corpus but, if it tends to confuse, it is perhaps less than helpful.
For all that, this is a collection of intriguing images that, while it tends to prompt the initial reaction, “meh”, draws you inextricably in. Maybe that’s the best indicator of success.
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