For her first collaboration with BORCH Editions Mamma Andersson created a suite of three prints, combining woodcut and etching on Japanese paper. After the printing process, she returned to one of the motives, a larger-than-life sculpture of a hand with raised index-finger, and hand coloured its finger nails individually, blurring the line between edition and unique work.
Conceived as three autonomous images, Andersson began regarding the prints as a sort of triptych while working on them simultaneously. Her combination of drypoint and woodcut resulted in an intriguing series of complex prints with skilfully executed, multi-coloured surfaces which highlight the three-dimensionality of the depicted objects and give them an almost skin-like appearance.
Printmaking, especially woodcut, has long been an integral part of Mamma Andersson’s artistic practice, and her involvement with the medium has intensified since she purchased her own printing press for her studio in Sweden. Although she has worked with a wide range of printing techniques, her print project with BORCH Editions marked her first encounter with the drypoint technique. Andersson was intrigued by the immediacy of drypoints, the direct mark making on a copper plate without the involvement of chemical processes.
Mamma Andersson, 1962, born in Luleå, Sweden, lives and works in Stockholm.
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