In an era dominated by war, conflict and pervasive crises, Isa Andersson is in search of forgotten knowledge. In
Vatten finns i skopan bakom dörrn, Andersson seeks inspiration from the agrarian legacy of her grandparents, raising questions about the skills that have been lost today.Text : Morris Åkermalm
Foto : Giulia Cairone
Galleri : Galleri Duerr, Stockholm
The evocative image of her grandmother navigating a tractor resonates profoundly – a testament to a woman attuned to nature who had the skills to survive in it. Craft was also a part of her daily life, using tools that can now be found at flea markets, leaving us to wonder what they are. Isa Andersson, herself a glass artist, hesitates to label herself as such acknowledging her inability to personally shape molten glass. Yet, within this admission lies a symbolic discourse – a reverence for a craft, an exploration of engaging with a craft beyond one's mastery. The old tools have been given new blades in the form of glass, the fragile material standing in contrast to the heavy manual labor the tools represent. In times of crisis, it is easy to become nostalgic, seeking comfort in what has worked before. A national romantic gaze nostalgically treasures the lost knowledge, but the question is whether it would be useful today.
As a resistance to the anxiety and despair Andersson feels about our present time, she attempts not only to comment on the state of things but also to activate herself. Andersson has learnt the craft of building a wattle fence using traditional methods. Beyond the craftsmanship reference, there's also a nod to midsummer, where, in folklore beliefs, one should climb over seven wattle fences and pick flowers to place under the pillow to dream of their intended spouse. There's a sense of optimism in that act, that despite angst and despair continue dreaming of a brighter future.
Text : Morris Åkermalm
Foto : Giulia Cairone
Galleri : Galleri Duerr, Stockholm
