The titles set up menacing implications for ostensibly innocent subjects. A theatrical domestic setting was implied in some paintings, with allusions to costume changes. But the mise-en-scène was lifeless and silent. Even the two women dancing in Ceremony (2014) seemed lost in a trance. The compact black feline in Lyckokatt (2014), however, looks back at the viewer with steadfast golden eyes.
In Hangman (2014), a figurine suspended by his hands from a horizontal pole supported by ornamental columns casts a threatening shadow on an invisible wall. The same image gained even more drama blown up in a monumental mural painted on a wall in a dimly lit second gallery. A second mural featured an enormous female mannequin in an antique gown, while three more intimate paintings redoubled the contrast in scale. Andersson’s serenely spooky images are enthralling whatever their size.
A version of this story originally appeared in the May 2015 issue of ARTnews on page 107.