Andreas Eriksson
RESA V, 2019
embossed black ink on Saunders Waterford Rough White, 638 gsm
56 x 43 cm
22 1/8 x 16 7/8 in
22 1/8 x 16 7/8 in
Edition 6/15 (+3 AP)
Copyright The Artist
One Edition was exhibited at: Andreas Eriksson, Ticolat Tamura (in collaboration with Stephen Friedman, Hong Kong, 4-14 November 2019 Press text: Andreas Eriksson’s new suite of embossed etchings are inspired...
One Edition was exhibited at:
Andreas Eriksson, Ticolat Tamura (in collaboration with Stephen Friedman, Hong Kong, 4-14 November 2019
Press text:
Andreas Eriksson’s new suite of embossed etchings are inspired by drawings from the artist’s pocket sketchbooks. These sketches were scanned and laser cut in aluminium to achieve the embossed effect. Printed at Stoney Road Press in Dublin, Eriksson has developed a historic technique by dripping ink into the embossed grooves of the paper. A river of ink flows across the surface in small tributaries, resembling a topographical view of an unknown landscape.
Everyday life forms the starting point for Eriksson’s practice. He works from a studio in Medelplana, deep in the Swedish countryside. This landscape gives his formal, conceptual, metaphorical and perceptual decision-making process firm context. Eriksson has long been concerned with the human relationship to nature, and his practice is imbued with an emotional intensity that results from a sustained investigation into his own reaction to the natural world.
Andreas Eriksson, Ticolat Tamura (in collaboration with Stephen Friedman, Hong Kong, 4-14 November 2019
Press text:
Andreas Eriksson’s new suite of embossed etchings are inspired by drawings from the artist’s pocket sketchbooks. These sketches were scanned and laser cut in aluminium to achieve the embossed effect. Printed at Stoney Road Press in Dublin, Eriksson has developed a historic technique by dripping ink into the embossed grooves of the paper. A river of ink flows across the surface in small tributaries, resembling a topographical view of an unknown landscape.
Everyday life forms the starting point for Eriksson’s practice. He works from a studio in Medelplana, deep in the Swedish countryside. This landscape gives his formal, conceptual, metaphorical and perceptual decision-making process firm context. Eriksson has long been concerned with the human relationship to nature, and his practice is imbued with an emotional intensity that results from a sustained investigation into his own reaction to the natural world.