Catrin Andersson

Ýrr Jónasdóttir Creep Behaviour English Version

Catrin Andersson
Creep Behaviour 28/5-27/6 2015

Just like nature itself, Catrin Andersson’s art consists of a visual surface with a substantial underlying depth of diverse material filled with history and processes. A surface changed over time, a frozen moment in an ever-changing process: Andersson digs in the layers of history much like an archaeologist and examines developments in the crusts of earth like a geologist. She uses information from scientific studies and presents her research and aestheticizes surveys with different material. The result is beautiful, powerful and mysterious. To penetrate the visual exterior of Andersson’s art calls for scrutiny of process and material, just as science is needed to understand how the workings of nature and its temporal changes.

Ice has since long occupied the interest of Andersson. She has sought out areas in the north, where light and climate are ruled by extreme conditions. She has been to Svalbard on Iceland and most recently to Haparanda/Torneå in northern Sweden. Drawn to the vastness, the unexplainable and often overpowering nature of these places. There is always a human presence that acts like a communication between man and nature, a mutual influence, but most of all a human desire to operate – and understand time and space.
Paper is a recurring material in Catrin Andersson’s exhibition Creep Behaviour at Elastic Gallery and is exposed to different elements and which change the appearance and substance of it. In doing so, she loses the control of the result. The series Still Resolution consists of monochrome carbon drawings that have been rolled up in plastic tubes in which water and ice from Torneälven have run through. The meeting of materials transforms the monochromes to an image of the mighty movement of nature: a frozen water surface transformed when ice melts, cracks, and slides on the river’s surface forming a multitude of patterns.

Surface Sensor also consists of carbon drawings merged with ice and water. These were taken out of Årstaviken in Stockholm from melting ice at the end of winter. The process was completed when the papers, with their specific look, were extracted from their bath after a month and 15 days.

Time and transformation run like threads through the whole exhibition and deal with the traces that time leaves on memory when the seasons alter the landscape. But the works can also hold other information that hides beyond the beautiful surface. In Decade (Decay), ten bottles contain a piece of paper each, which has been drenched in transparent, reddish fluid. This aesthetic leads thoughts to bottled messages in the light of a picturesque sunset reflected on water. But the work is a means of measuring climate changes throughout a decade, where the red shade in the fluid depicts the amount of ice in the Baltic Sea and the Gulf of Bothnia. The colour in each bottle is toned out depending on the amount of ice it contains. We can follow the disintegration where the last bottle from 2015 has the thinnest red and therefore the lowest amount of ice.

A brass plate cut into round shapes and round sculptures in paper makes up the work Rest (Las Bolas) and are placed the exhibition space. The shapes and sizes are taken from a collection of stone spheres found in excavation sites in Costa Rica. Their significance, usage and origin are a mystery. They fascinate due to their perfection, and range in number and size. With its historical references, Rest ties the past to the present and faraway land to the here and now. These sculptures in paper can be compared to layers of soil, in an archaeological sense, as they contain all of the material used in preparing the whole exhibit. The brass plate with its reflective surface highlights both the sphere’s perfect round shape and their absence in the gallery space. In this way, the present moment is always reflected in the current room. The work also references a different culture whose material knowledge is no longer known to us. A history that we cannot read, a relic of something past: a cessation in time. Just as some things remain still, unexplainable and unchangeable in a world of constant movement and change.

Ýrr Jónasdóttir, Director of Ystads konstmuseum
Translation: Alida Ivanov

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