Anna Bjerger: Home Encyclopedia
€20
Keyword: 2020s, Painting, still-life, Swedish artist
Size: 200 x 250 mmPages: 40
Format: softcover
Language: Swedish, English
Illustration: 27 in colour
Text: Karin Faxén Sporrong
Book design: Magnus Karlsson
Photo: Nora Bencivenni
Publisher: Galleri Magnus Karlsson
Pub Year: 2025
Weight: 178 gr
ISBN: 9789198435887
Exhibition: Galleri Magnus Karlsson 2025
Description
Article no.: 9789198435887
Serene and beautifully contemplative still life paintings in the artist's latest exhibition.
From the publisher:
A garlic bulb. A well-thumbed housewife’s manual. Two noodles, cooked and shimmering white. A piece of cake, just about within reach. The very last lettuce leaf in the bowl.
Anna Bjerger’s paintings reveal a certain approach to the concrete and quotidian. What surrounds us and is there all the time. It appears to be the perfectly ordinary world that she chooses to portray. The objects and things as they are. But also a very singular eye that is not entirely easy to define. It is as if it were charged with amazement at the visible. As if we were seeing it for the first time. Every time.
After long having based her paintings on anonymous photographs, she started a couple of years ago to paint the reality around her, without intermediary photographs. There is an immediacy in how she works with the current visual world, which has not always been there. In the same process, she also made the format more monumental; an element that begs closer scrutiny of the motifs.
– Extract from the essay by Karin Faxén Sporrong
From the publisher:
A garlic bulb. A well-thumbed housewife’s manual. Two noodles, cooked and shimmering white. A piece of cake, just about within reach. The very last lettuce leaf in the bowl.
Anna Bjerger’s paintings reveal a certain approach to the concrete and quotidian. What surrounds us and is there all the time. It appears to be the perfectly ordinary world that she chooses to portray. The objects and things as they are. But also a very singular eye that is not entirely easy to define. It is as if it were charged with amazement at the visible. As if we were seeing it for the first time. Every time.
After long having based her paintings on anonymous photographs, she started a couple of years ago to paint the reality around her, without intermediary photographs. There is an immediacy in how she works with the current visual world, which has not always been there. In the same process, she also made the format more monumental; an element that begs closer scrutiny of the motifs.
– Extract from the essay by Karin Faxén Sporrong