I am Visconti

2012
Ink and pencil on paper

35 x 50 cm

 

 

 

 

 

 

 

Simplicity,

2011

Digital print face mounted on acrylic

100x75cm

Edition of 5+2ap

 

 

 

 

 

 

 

Behind closed eyes is where the real horror begins

2012

Acrylic on Canvas

22x27cm

 

 

 

 

Grace, acrylic on canvas 2012 & State of Mind, 2012, Ink and pencil on paper

 

 

 

 

State of Mind

2012

Ink and pencil on paper

39x55cm

 

 

 

 

 

 

 

I have always loved ghosts. They have no bodies.

2012

Digital print face mounted on acrylic

100x77cm

Edition of 5+2ap

 

 

 

 

 

 

 

 

Beauty

2012

Digital Print

46x50cm

(framed 64x68cm)

Edition of 5+2ap

 

 

 

 

 

 

 

 

 

Pose

2016

Ink and pencil on paper

28x22cm

 

 

 

 

Lovers,

2011

Digital print face mounted on acrylic

Edition of 5+2ap

 

 

 

 

Dreyer

2012

Ink and pencil on paper

29x39cm

(framed 42x52cm)

 

 

 

 

 

 

 

White Ribbon

2012

Ink and pencil on paper

29x39cm

(framed 42x52cm)

 

 

 

 

White Ribbon, 2012, Ink and pencil on paper & Melancholia, 2012, Digital Print Framed, 120x120cm

 

 

 

 

 

Janus

2011

Acrylic on canvas

22x27cm

 

 

 

 

 

All the masks I carry on my face

2012

Ink and pencil on paper

 

 

 

 

 

 

 

 

Mask

2016

Ink and pencil on paper

 

 

 

 

 

White Nights

2011

Acrylic on canvas

22x27cm

 

 

 

 

 

SimplicityII,

2011

Digital print face mounted on acrylic

Edition of 5+2ap

 

 

 

 

 

 

Untitled, 2012, Digital print face mounted on acrylic, 133x100cm, Edition of 5+2ap

 

 

 

 

I'm a wound and a sword, a victim and an executioner. I am your Mirror.


4-28.10.2012

 

At Helsinki Contemporary, Bulevardi 10, 00100 Helsinki, Finland

 

“I’ve always preferred mythology to history. Because history is made up of truths which eventually turn into lies. Mythology is made up of lies that eventually become truths.”

 

- Jean Cocteau

 

Ville Andersson’s exhibition consists of new photographs, paintings and drawings. In the dramatized situations of the photographs, there’s a strong mystical and psychological force. This force is also present in the paintings, which are in dialogue with a former civilization; with both literature, film and fine art.

 

In the artist’s style you can see influences from many different time periods. Andersson sees clear links and continuums in this wide source material. He uses the archive of art history as a sort of dictionary, forming new sentences, and bringing the dialogue that’s already going on, further.

 

The subjects of the works that have been produced this year are known from the artist’s earlier production: in the centre, there are human figures. The figures are surrounded by a mystical atmosphere, that doesn’t leave the viewer with an easy task. Andersson doesn’t reveal too much about his characters, but wants every viewer to form a personal relationship to them.

 

The works are moving in a world of nuances of black and white, which is also known from Andersson’s earlier production. The black-and-whiteness functions as something that makes time stop, the pictures seem to live in their own world, apart from the viewer’s reality.

 

The names of the works, like I am Visconti and Melancholia, bring to mind Luchino Visconti’s and Lars von Trier’s films. Andersson points out that in these films you can see a flawless style walking hand in hand with a rupture – a rupture that makes the works a part of life. The same thing you can see in the works of the exhibition: paradise has been lost.

 

Esthetic and beauty do have their own place in Andersson’s art. As he sees it, this is a veil through which we can filter even our darker feelings – the conscious and the unconscious ones. The work of art functions as some kind of softening device, with the help of which we can be in touch with these feelings. In this contact, there is also a possibility of change.

 

 

 

 

MORE ABOUT THE EXHIBITION HERE - HELSINKI CONTEMPORARY GALLERY

 

 

 

 

 

 

 

 

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