Willem Andersson — What we do together
In the painting Family meeting has a large, well-off relatives gathered in a beautiful apartment. It should be structured for celebration, but real interaction becomes impossible when the family members are facing from each other, each one completely absorbed by what they themselves are in arms. Nobody is interested in the slightest for someone else, not socialize. The sad fact of the situation reinforced by the objects of this attention is shapeless things and totally incomprehensible that joy.
Family Encounters is a recurrent theme in Willem Andersson’s paintings. “The family is a social structure that can not choose but still feel an obligation to conclude in. The social game is never so complicated that within the structure. It is so important that sense of belonging that we forget from Sunday to Sunday, how hard can it be to get through a dinner with them that should be an immediately. Yet rarely find a meaningful way to socialize, celebrate Christmas Eve million families in front of Donald Duck – in front of the TV! It must be the weirdest ritual that exists. It is no wonder that family members rarely really know each other. ”
But the inexplicable need not always be that divides and destroys. In the painting, we built nothing of anything, we see a small group of women, who probably are related, carefully building a bland structure of the odd blocks. It is a bizarre scene – a totally meaningless job carried out with utmost precision, and apparently even joy. The picture is homicide and a little scary; What makes this little family, and why?
Willem Andersson’s image world is dark and absurd on the verge of comedy. It becomes meaningless significance when the execution may be a value in itself. The tower will take place unnecessary and will surely crumble, but the family can find a way to socialize in the building. It is meaningless may prove to be a safe and happy starting point, a ritual that simplifies the complex known as human relations.
If the paintings are in prose that is the Willem Andersson’s drawings suggestive of poetry. Here are the bizarre completely taken over. Each subscription is emerging as a nightmare scenario in which the precise, bordering on manic technique reflects the systematic and the obsession that permeates the reasons: a bokbål, a tree being kidnapped by a concrete, a root system that seems to take over the world. Doom Visions line up, but embellished, stylized forms.
Willem Andersson’s work exudes historic paintings and bourgeois boredom, absurdism and realism – all at the same time. He gives us uncomfortable truths cunningly wrapped in skilled technology and a dose of humor, but also a slow prominent sense of abandonment, that this is what it should be. We live and work together on a self-created rituals, meaningless and necessary at the same time. “Something like also works of art. It is so pointless to paint, but it is also crucial for me to act as a human being.