No connection to server
315
1306922

Anders Krisár

(Sweden, Born 1973)
Estimate
250 000 - 300 000 SEK
21 900 - 26 300 EUR
22 800 - 27 300 USD
Hammer price
200 000 SEK
Covered by droit de suite

By law, the buyer will pay an artist fee for this work of art. This fee is 5% of the hammer price, or less. For more information about this law:

Sweden: BUS
Finland: Kuvasto

Purchasing info
Image rights

The artworks in this database are protected by copyright and may not be reproduced without the permission of the rights holders. The artworks are reproduced in this database with a license from Bildupphovsrätt.

For condition report contact specialist
Louise Wrede
Stockholm
Louise Wrede
Specialist Contemporary Art, Private Sales
+46 (0)739 40 08 19
Anders Krisár
(Sweden, Born 1973)

"Half Girl (right)"

Signed and dated 2018. Edition 2/3 +2AP. Carrara marble 47 x 17.5 x 19 cm. Base 84 x 40 x 40 cm.

Provenance

Private collection, Stockholm.

Exhibitions

CFHILL Art Space, Stockholm, "Anders Krisár – New Sculptures", 17 February - 14 March 2018, another edition exhibited.

More information

Anders Krisár (b. 1973, Stockholm) was educated at Konstfack in Stockholm and at the School of Communication Arts in London, and has also trained as a composer at New York University. He previously worked as an art director and begun his artistic career with photography. However, in his three latest exhibitions at CFHILL Art Space in Stockholm he has been showing sculptures. Krisár is a perfectionist and these sculptures are finely polished reproductions of bodies.
The exhibition "Sculptures" from 2018 was the first time that he exhibited human-form sculptures in Carrara marble. Each of the pieces were carved by a professional stone-cutter under the direction of Krisár. The motifs are of perfectly androgynous bodies and he explains his need for perfection as a kind of compulsion. He understands perfectionism not as a way of reaching satisfaction, but one of avoiding pain. Having grown up with parents who were both affected by mental illness (his mother was bipolar and his father schizophrenic), these beautifully polished, perfect bodies, often in halves, begin to process his deep-rooted traumas. They are divided so as to accentuate separation and loss. When you carve by hand in a material such as marble you cannot change your mind, if your tool slips you cannot press delete. There is no point of return when you have begun working on a large block of marble. Just like with birth, there is no return. And aren’t the bodies so exquisitely innocent, precisely like those of newborns?