Andres
Krisan

Sculptures that make reference to the human form

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Anders Krisár lives and works in Stockholm. Krisár’s sculptures often feature or make reference to the human form, exhibiting a preoccupation with formal rigor and abstraction. Using this exacting approach, he employs precision of form to create intensely personal, psychological landscapes. Krisár’s sculptures – immaculately produced, and often bear a deliberate blemish that is itself impeccably rendered – are discomfiting, objects of simultaneous horror and beauty.

The Birth of Us (Boy) features a child’s torso, marred by the indentation of two adult handprints; in M the life-size figure of a boy is split in two and then rejoined so that a single figure becomes two halves. The violence that underpins both these sculptures is a recurring theme and is rendered with care and deliberation so that it appears both aesthetic and inevitable. The sculptures are uncanny because of the meticulousness with which they are executed; according to Krisár, “I’m a perfectionist because I have to be, it’s not really a choice. And it’s not a striving for satisfaction, it’s rather to avoid pain.”

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Anders Krisár lives and works in Stockholm. Krisár’s sculptures often feature or make reference to the human form, exhibiting a preoccupation with formal rigor and abstraction. Using this exacting approach, he employs precision of form to create intensely personal, psychological landscapes. Krisár’s sculptures – immaculately produced, and often bear a deliberate blemish that is itself impeccably rendered – are discomfiting, objects of simultaneous horror and beauty.

The Birth of Us (Boy) features a child’s torso, marred by the indentation of two adult handprints; in M the life-size figure of a boy is split in two and then rejoined so that a single figure becomes two halves. The violence that underpins both these sculptures is a recurring theme and is rendered with care and deliberation so that it appears both aesthetic and inevitable. The sculptures are uncanny because of the meticulousness with which they are executed; according to Krisár, “I’m a perfectionist because I have to be, it’s not really a choice. And it’s not a striving for satisfaction, it’s rather to avoid pain.”

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Anders Krisár lives and works in Stockholm. Krisár’s sculptures often feature or make reference to the human form, exhibiting a preoccupation with formal rigor and abstraction. Using this exacting approach, he employs precision of form to create intensely personal, psychological landscapes. Krisár’s sculptures – immaculately produced, and often bear a deliberate blemish that is itself impeccably rendered – are discomfiting, objects of simultaneous horror and beauty.

The Birth of Us (Boy) features a child’s torso, marred by the indentation of two adult handprints; in M the life-size figure of a boy is split in two and then rejoined so that a single figure becomes two halves. The violence that underpins both these sculptures is a recurring theme and is rendered with care and deliberation so that it appears both aesthetic and inevitable. The sculptures are uncanny because of the meticulousness with which they are executed; according to Krisár, “I’m a perfectionist because I have to be, it’s not really a choice. And it’s not a striving for satisfaction, it’s rather to avoid pain.”

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Monochrome ISSUE N. 01

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