To follow pick lists you need to be logged in.



Andreas Eriksson

Press release

Andreas Eriksson – Nite Flights

neugerriemschneider is pleased to present its second solo exhibition with Andreas Eriksson at the gallery. Dedicated to his new series of paintings entitled Nite Flights (2019), the eponymous exhibition also features a selection of screen prints, monotypes and bronze sculptures by the artist, each of which plays off and gradually reveals his painterly vocabulary. Nite Flights unfolds like a journey through the night, delicately fusing notions of isolation and geographies with the natural and built worlds, shaping a context that is at once familiar and enigmatic.

Engaging with painting as a source of metaphorical reference that expands its formal aspects, Andreas Eriksson derives the patterns, hues, textures and motifs that he employs from his immediate natural environment, with day- night cycles and the seasonally shifting color schemes of the Swedish landscape recurring in his work. As their titles suggest, the Nite Flights paintings capture moments just before dawn as seen through an airplane’s window. They emerge as presentations of abstract, unidentified and often dreamlike locations in which the permanent is confronted by the ephemeral, the static by the dynamic, the heavy by the weightless and the deliberate by the unconscious. Eriksson characterizes night, with its ability to nearly suspend time and trap light, as simultaneously unsettling and captivating. Formally, the paintings are distinguished by fields of color arranged in geographical patterns as discerned through the night, featuring a nuanced constellation of deep blacks, dark browns and nocturnal blues set against dusky highlights. Thin coats of acrylic are covered in thick strokes of oil paint to create a sense of luminescence emanating from the surface’s darkness reminiscent of the light cast by harvest, strawberry, blue and snow moons.

The paintings, viewed in the context of Eriksson’s oeuvre, act as contrasting counterparts to his linen wall weavings, which are rendered in light, variegated yellow, beige and brown earth tones, visually drawing upon the landscape of the artist’s native Sweden. Acting as points of reference for the wall weavings are the three black-on- white screen prints on view: Subrosa, Sketch for unfinished painting, and Arsenura (all 2017). With their pared down compositions, they mirror the reduced nature of the black-and-white tapestry-making templates used by Eriksson and his team of weavers, and function as negative impressions of Andreas Eriksson’s nocturnal topographies.

Framing the landscapes that surround Lake Vänern, Eriksson’s studio windows mark a threshold between inside and outside, creating a dialogue between them. The monotypes The Moon, Window First Snow, and Window 11 (all 2019) draw the viewer into a darkened winter landscape. Their compositions of night-like tones create depth through reflection, with the mark-making and layering characteristic of monotypes allowing for unpredictable, organic structures. The window reappears as the conceptual framework for Eriksson’s series Content is a Glimpse (2014 - ongoing) comprising bronze casts of birds that met their untimely end after colliding with Eriksson’s studio window. Reflections in windows create the illusion of landscape, ultimately misdirecting and deceiving. In a poetic attempt to suspend the birds’ decay, Eriksson immortalized them in bronze, furthering his fascination with capturing nature’s ephemera.

Andreas Eriksson’s work is an exercise in remapping and reconsidering once familiar terrain. An exploration of an increasingly globalized, interconnected world, Nite Flights expands this line of inquiry to the celestial realm and creates a space for questions about our existence within time and space.

Andreas Eriksson was born in 1975 in Björsäter, Sweden. Selected solo exhibitions include Cutouts, Mistakes and Threads, Braunsfelder, Cologne (2019), Work in Progress, Skissernas Museum, Lund (2017); Erosion, Kunstforum Baloise, Basel (2015); Roundabouts, Bonniers Konsthall, Stockholm (2014), Trondheim Kunstmuseum, Trondheim; Centre PasquArt, Biel; Reykjavik Art Museum, Reykjavik; The Nordic Pavilion, La Biennale di Venezia, Venice (2011); Walking the Dog, Lying on the Sofa, mumok Museum moderner Kunst Stiftung Ludwig, Vienna (2008). Group exhibitions include New Materialism, Bonniers Konsthall, Stockholm (2018); Monkey and Waterfall - Pictures of our Climate, Sara Hildén Art Museum, Tampere (2018); Making and Unmaking, Camden Arts Centre, London (2016); The Imminence of Poetics São Paulo Biennial, São Paulo (2012); Pink Caviar, Louisiana Museum of Modern Art, Humblebaek (2012) and Modernautställningen 2010 at the Moderna Museet, Stockholm in 2010. Andreas Eriksson lives and works in Kinnekulle, Sweden.

For further press information and imagery, please contact Alexia Timmermans at neugerriemschneider: +49 30 288 77277 or