Mamma Andersson constructs cinematic scenes – showing the full spectrum of Nordic landscapes. Her use of colour is reactionary, favouring both expressive blocks of colour along with almost translucent tints. This build-up of colour creates a depth of colour and atmosphere.
Andersson is unafraid to have large areas of black, immediately catching your eye. She threads the colour through the whole expanse with black outlines and thinly suggested vegetation and clouds in the background. She describes this use of black as an integral part of her Northern European identity, reflecting the long winters, which colours people’s lives.
By contrast she has very yellow translucent areas in her painting as, during Swedish summers, the sun almost never goes down. Andersson draws on her environment which inevitably leads to her nationality and her art being very closely connected.
Heimat Land (2004)
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