Andreas Eriksson was born in 1975 in Björsäter, Sweden. He lives and works in Medelplana on the south bank of Lake Vänern, Sweden.
Eriksson’s artistic practice is highly expansive, encompassing a wide range of media including painting, photography, sculpture, tapestry and installation. Eriksson’s works often appear quiet and understated yet belie a poetic quality which has a lasting effect on the viewer. Since 2000 the artist has lived in a house situated in the midst of a forest on the edge of a lake. Small events and phenomena from his everyday life and the natural world that surrounds him become the outset for his works, giving his formal, conceptual, metaphorical and perceptual decision-making process a firm context.
Eriksson's work often embraces dualities such as inside and outside, lightness and heaviness, illusion and reality. His work hovers enigmatically between the abstract and the figurative, and is simultaneously familiar and mysterious. The emotional intensity with which Eriksson imbues his work is the result of a sustained exploration of his response to the natural world.
A major solo exhibition of watercolours, drawings and tapestries opened at The Nordic Watercolour Museum in Tjörn, Sweden in September 2020. Eriksson’s fourth solo exhibition at Stephen Friedman Gallery, London ‘Mapping memories, tracing time’ opened in March 2020.
Other notable solo exhibitions include: ‘Nite Flights’, Galerie Neugerriemschneider, Berlin, Germany (2020); ‘Memories of Snow’, Cahiers d’art, Paris, France (2020); Hakgojae Gallery, Seoul, South Korea (2019); ‘Cutouts, Mistakes and Threads’, Braunsfelder Family Collection, Cologne, Germany (2019); ‘Kria’, Stephen Friedman Gallery, London, England (2018); ‘Work in Progress’, Skissernas Museum, Lund, Sweden (2017); Public art commission, Nya Karolinska Sjukhuset, Solna, Sweden (2018); ‘Röta, bråka, skäkta och häckla’, Stephen Friedman Gallery, London, England (2016); ‘Roundabouts’, Bonniers Konsthall, Stockholm, Sweden which toured to Trondheim Kunstmuseum, Trondheim, Norway; Centre PasquArt, Biel, Switzerland and the Reykjavik Art Museum, Reykjavik, Iceland (2014–2015); ‘The Imminence of Poetics’, 30th São Paulo Biennial, São Paulo, Brazil (2012); The Nordic Pavilion, 54th Venice Biennale 2011, Venice, Italy (2011); ‘Roundabout the hardship of believing’ and ‘Walking the Dog, Lying on the Sofa,’ MUMOK, Vienna, Austria (2008).
Notable group exhibitions include: ‘NATURE – Home & Workplace’, Nuuk Art Museum, Nuuk, Greenland; travelling from Johannes Larsen Museet, Kerteminde, Denmark and Ljungberg Museum, Ljungby, Sweden (2018–2020); New Materialism’, Bonniers Konsthall, Stockholm, Sweden (2018); ‘Making and Unmaking’ curated by Duro Olowu, Camden Arts Centre, London, England (2016); ‘Modernautställningen 2010’, Moderna Museet, Stockholm, Sweden (2010); ‘Life Forms’, Bonniers Konsthall, Stockholm, Sweden (2009).
Eriksson’s works are included in prominent collections internationally including: Centre Pompidou, Paris, France; FRAC, Auvergne, France; MUMOK, Vienna, Austria; Nasjonalmuseet, Oslo, Norway; Gothenburg Museum of Art, Gothenberg, Sweden; Moderna Museet, Stockholm, Sweden; Skövde Art Museum, Skövde, Sweden; National Public Art Council, Sweden; Sundsvall Museum, Sundsvall, Sweden and Uppsala Art Museum, Uppsala, Sweden and X Museum, Beijing, China.