Belenius

Willem Andersson — Brass Tacks

20.05—29.05.2021

Curator: Sophie Påhlson-Möller

By appointment only

In the building and construction industry there is a multitude of materials that exist for clear purposes. However, these materials are later hidden, painted and even left forgotten. No one wants to see these fragments that make up the bigger and broader spectre. We only want the whole picture, that perfect and ready structure. Anti-refinement are keywords for Willem Andersson. His sculptural work are the very anti-thesis of the perfected lines and forms. Using sealant, he produces sculptures that live their own life. The sealant cannot be controlled, it enlarges itself at free will. The artistic procedure starts after its appliance. Using colour, fire, force and a lot of will the process continues ad infinitum. The sculptures take form. He furthers his examination of entropy. The term entropy is derived from ancient Greek consisting of two words, “en- “, which is an abbreviation of the word energy, and “trope”, which translates as transformation. Ergo, transformation of Energy. Order and fixed energy rules materials at first. Andersson disturbs this order creating his sculptures. Taking control of uncontrollable materials his works take form. Bringing into the light what was initially supposed to be hidden, Andersson sculpts. He describes himself more as a handyman, a craftsman than an artist. Things that constitute a purpose and also and foremost is what it is, turn into works of art in his care. The perfect balance between order and chaos in his sealant bridges this chasm as he carefully sculptures and changes the entropy of the materials. Renewed energy is pumped into the simple materials, thus bringing forth new life in the sculptures.

Some of his sculptures in this exhibition are completely made out of clay. Andersson calls it waste-material, junk or litter. This particular clay is often used at kindergartens by children. The artist here strives to enrichen and uplift the materials often discarded in fancy venues.  Much like sealant, clay is masked painted and often overlooked. Hence, Andersson bring these forgotten materials back to life, and also back into the light. Refreshingly, we need to see today what we have around us, just round the corner. Sculptural clearness like this reminds us of just that – the beauty of mundane things and materials. The very title of the exhibition is also a witnessing of this. The brass tacks that hold everything together around us, yet without us giving them praise or thanks.

Valter Sydén