Artist statement
Anette Abrahamsson. Copenhagen, May 9th 1999

To describe the praxis and motive for the use of such an issue as painting on canvas which I have chosen as the media to work and relate to, I find the subject difficult to specify in written language, because painting itself, is a kind of action in which one is intimate with the material one chooses to work with. In other words, for me painting is very much a state of mind.

For many years I have been working with non-figurative painting in terms of geometrical patterns and other kinds of structures. I actually called those paintings figurative because of there pictorial surfaces. In a further explanation those paintings were related to modernism in abstract painting (the post-war period in art history). The reason why they are related to figuration has to do with the post-modern theory and the influence of semiotic analysis of the picture. This is just a fragment of my experience with painting. Which I find necessary to explain before I come closer to the new subject of painting I am dealing with currently.

A couple of years ago I invented a concept called Post-Pop-Formalism to describe my way of working with painting.I turned the idea of post-abstract painting upside down. In other words: How does one define the abstract in painting in the western society in the present state of art?

I started to work with the figure on one hand and the object on the other. My starting-point was to refer to something very concrete, which in the context might point towards an abstract state of mind.

The further I went into my praxis with this kind of figures and objects, the more I realised the emptiness. The minimal gesture in the painting drove my mind into a deeper research. The pictorial present in my work is not narrative it`s more about the contrary. In some way I am willing to use the term conceptual thinking, because I try to avoid telling stories. The emblem of figuration, occupies my mind, which is also occupied with how these figures and objects are presented on the surface and what they represent in terms of painting and context.