New silkscreen by Liv Tandrevold Eriksen


Liv Tandrevold Eriksen is releasing a new silkscreen print, and the motif draws inspiration from several periods in her artistic career.

Her background in drawing is evident in the dark areas of the motif, her airy brushstrokes emerge in the middle of the motif, and in the foreground, detached elements refer to her work with sewing on canvas.

Periodic Present Tense, 2024
Edition: 40
76 x 57 cm

The motif is constructed in Photoshop and reveals her fascination with a digital imperfect aesthetic where glitches and shifts in the print are both played with and exploited. The silk screen print is made in 4 layers, each layer with its own color. The color palette consists of primary colors, a recognizable palette in several of her works.

The artwork is printed on Edition Antique white 250g by the artist herself at Fellesverkstedet in Oslo and is in a limited edition of 40 copies.

Liv Tandrevold Eriksen (b. 1976, Oslo) is educated from the KHIO Institute of colour in Oslo.

Perhaps the greatest asset in Tandrevold Eriksen’s arsenal of resources is her exquisite lightness of touch. Her earlier paintings were delicate networks of thinly laid brushstrokes, evoking oily smudge patterns left on well used touchscreens. Since then, the quality of lightness has taken many forms in Eriksen’s images, in strangely atmospheric compositions where visual equilibrium is countered and attained by superimposition and layering. Some of her paintings introduces more physical elements to her layering process. The images are fairly large canvases occupied by amorphous blobs of diluted acrylics onto which fan-like constellations of similarly treated cutouts are attached to the support, either distributed as singularly applied patches or laid out in curvilinear sequences. These hybrid images notably depart from Eriksen’s previous works, inasmuch as the ground’s whiteness is less prominent and the sewn-on patches make for surfaces more textural and cluttered—however, curiously, without shedding the impression of lightness.

Where the graphic qualities of Eriksen’s earlier paintings tended to reveal her artistic background in drawing, the spaces conjured by her new images appear increasingly ambiguous. The multicoloured attachments look perfectly at home on the paintings’ surfaces, yet seem to hover weightlessly over the pictorial ground, like fluttering confetti. This effect of spatial oscillation—resulting from the appliquéd elements being, quite literally, cut from the same cloth as the rest of the composition whilst remaining materially distinct from it—is an eccentric take on the postmodern pictorial idiom which tilts the horizontal planes of illusionistic recession vertically.

Tandrevold Eriksen is in numerous private collections as well as Statens Kunstråd (SE), Norwegian Culture Council (NO), Equinor (NO), the Ministry of Foreign Affairs (NO) and KLP (NO).