Images
Martin Erik Andersen
Never say it isn’t so, (mimicry)
14. 3. – 12. 4. 2014
Martin Erik Andersen, installation view Never say it isn’t so, (mimicry) , 2014
Martin Erik Andersen, Scaffolding (cambodian), 2014 (detail), Painted steel, crochets, painted plants, plywood, ceramic, laser, sound, pc, porcelain, colored lambskin, knitting, cavalet, bamboo, cast aluminium, led light, cotillions, pyrit, textile, foil, offset print, incenseca, 310 × 390 × 360 cm
Martin Erik Andersen, Scaffolding (cambodian), 2014 (detail), Painted steel, crochets, painted plants, plywood, ceramic, laser, sound, pc, porcelain, colored lambskin, knitting, cavalet, bamboo, cast aluminium, led light, cotillions, pyrit, textile, foil, offset print, incenseca, 310 × 390 × 360 cm
Martin Erik Andersen, Scaffolding (cambodian), 2014 (detail), Painted steel, crochets, painted plants, plywood, ceramic, laser, sound, pc, porcelain, colored lambskin, knitting, cavalet, bamboo, cast aluminium, led light, cotillions, pyrit, textile, foil, offset print, incenseca, 310 × 390 × 360 cm
Martin Erik Andersen, We three, 2014, Painted plants, steel, knitting, porcelain, cotillions, ceramics, bamboo, 100 × 40 × 40 cm
Martin Erik Andersen, installation view Never say it isn’t so, (mimicry) , 2014
Martin Erik Andersen, Uccello, The Hunt (mimicry), 2014, Painted steel, paper, wood, 3D print, 200 × 60 × 32 cm
Martin Erik Andersen, Uccello, The Hunt (mimicry), 2014 (detail), Painted steel, paper, wood, 3D print, 200 × 60 × 32 cm
Martin Erik Andersen, Feast (abomination), 2014, Mirror, cardboard, styrofoam, knitting, rotating machine, wire, 180 × 55 × 60 cm
Martin Erik Andersen, installation view Never say it isn’t so, (mimicry) , 2014
Martin Erik Andersen, hidden fire, 2014, stearin, painted steel, knitting, 14 × 12 × 12 cm
Martin Erik Andersen, Mother of pearls (death is not the end), 2014, steel, painted plant, mirror, print, cardboard box, cavalet, knitting, mother of pearl shell, laser, 46 × 36 × 57 cm
Press Release
The works which involve plants/paint/3d-print I see as paradoxes between something obviously decorative (plant, paint and paper) and a more complex and general discussion on the status of the artwork: an intersection between the static of the synthetic paint and the growing of the organic plant. And a paradox between the objective scanned motif of a sliced branch and its transformative hiding or blurring in half transparent digital print-matter. On a more obscure level it represents an on-going interest I have had regarding Paolo Uccellos perspective constructions and his artificial painterly space. a structural interest in how it is possible to remodel the notion of space, articulating horizontal and vertical axis’s, spherical location and morphological glitches. I link to some old works (in the vain hope that they will explain everything, and save me for a thousand words:))
www.martinerikandersen.dk/work122yahpaolosponplad.htm
www.martinerikandersen.dk/work122yahpaolokasse.htm
www.martinerikandersen.dk/work122ycotillion.htm
www.martinerikandersen.dk/x118work06.htm
www.martinerikandersen.dk/x107work02.htm
and I attach the beautiful last work of Uccello “The Hunt”, his last tourde-force in the dark vanishing point and complex synthetic circular perspective constructions – and trees :)
all the best Martin