By adapting the subject of death in different forms and levels, Melanie Wiksell’s practice embodies the link between the seen and the unseen; the inner and the outer, through sculptures and installations. She dwells in the history of mourning and with a nostalgic glance emphasizes how we decorate an absence. Melanie Wiksell describes her work as organic romanticism and restraint mysticism with flirtation on the mythological, the uncanny and the subject’s dissolution. Her personal experiences and memories are distorted to accentuate the subject’s ambiguity in purpose to strain the boundaries between art, reality and the narrative.
Annika Stridh works in an array of media, from performance to writing; from painting to installation. By imbuing spaces, objects, images, and narratives with real and imagined reflections of her identity, she raises the question of how each of these things resonate as standalone entities, removed from their creator and birthed into the world as a physical remnants of the artist. Do they still connect to one another? Do they still connect with others? And critically—do they still represent her?