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Martin Erik Andersen

Martin Erik Andersen (b. 1064) was trained at Det Kongelige Danske Kunstakademi during the years 1985-92 and at El Fonuun-Gamila in Cairo, Egypt in 1988-89. He belongs to the 1990s generation of experimenting and innovative artists.

Martin Erik Andersen works with sculptures and installations but he continually seeks to renew the tradition that is associated with these two work categories. Moreover, Martin Erik Andersen does not make any sharp distinction between sculpture and installation – he integrates elements of one category into the other and in this way they become overlapping.
 
In his art Martin Erik Andersen focuses especially on the relationship between the work, the room in which the work is placed and the spectator. Also, his works often consist of many different elements and materials that would not usually be put together. This means that the works make use of surprising aesthetic codes that only few people are familiar with.
 
It is not the intention of Martin Erik Andersen and his art to tell stories in a common sense manner. Instead he wants to create sudden transitions in terms of materials and meanings that open up to ’intervening spaces’, in which the world is fundamentally different.
 
The spectator is left with the intervening spaces. In this way the work of art is not only the actual, physical work, but also the interaction – at the physical and the mental level as well – between the work and the spectator. The spectator becomes part of the work, and the work changes as he or she moves around it.

When trying to understand the works with everyday consciousness and language, we perceive Martin Erik Andersen’s works as strange and irrational. When accepting, however, the contrariness of the space of art and the language that prevails here, boundless possibilities and a new form of poetry open up.
 
Martin Erik Andersen once said about his role as an artist: “Painters have a continuing obligation to preserve nuances and complexity wherever possible. Pictorial art is a standing suggestion for our common frame of reference. This suggestion implies that everything visible and everything, of which we may only be able to see the shadow and the edge, may potentially be integrated into our frame of understanding and into our continuing remodelling of the world”.

The artists website

Videos by the artist on YouTube
Martin Erik Andersen, photo MEA