Anna Walther (b. 1990) is educated from Funen Art Academy and The Royal Institute of Art Stockholm in 2017. Her practice spans across a variety of media such as sculpture, installation, text and painting in an expanded field. In her work she explores ownership, climate change, consumerism, harmful body norms and the relation between private and public.
Storytelling plays an important role in Walther’s work, which weaves together a manifold of characters borrowed from both pop culture and mythology. It all takes place in an eclectic universe, where historical artifacts and found objects mingle with glass-blowing, wheat weaving and patchwork. Through a string of associations she brings together a manifold of characters, figures, and metaphors to discuss topics ranging from the handbag’s role in the liberation of women to the glamorization of Norse culture.
Using objects with charged aesthetics, associated with ideas of femininity or masculinity, sexualization or innocence, she seeks to challenge how and why such categories are present among us and the parallels between objectification of the human body and the colonization of nature. In her aesthetics, she employs a push and pull effect to lure the viewer at the same time as repulsing them through abject meetings between materials such as raisins and knives, satin and spaghetti, peanuts and papier-mâché.
Sustainability is a core condition of Walther’s work: whether it comes to her own sourcing of materials and labor or the consciousness about the biases which shape the perception of art, the dialogue around it as well as the production of art. Her ambition is to create sustainable at that challenges the system and her own position to become more aware of our roles in different networks of power: nature, culture, race, sex, class and technology.
Anna Walther (b. 1990) is educated from Funen Art Academy and The Royal Institute of Art Stockholm in 2017. Her practice spans across a variety of media such as sculpture, installation, text and painting in an expanded field. In her work she explores ownership, climate change, consumerism, harmful body norms and the relation between private and public.
Storytelling plays an important role in Walther’s work, which weaves together a manifold of characters borrowed from both pop culture and mythology. It all takes place in an eclectic universe, where historical artifacts and found objects mingle with glass-blowing, wheat weaving and patchwork. Through a string of associations she brings together a manifold of characters, figures, and metaphors to discuss topics ranging from the handbag’s role in the liberation of women to the glamorization of Norse culture.
Using objects with charged aesthetics, associated with ideas of femininity or masculinity, sexualization or innocence, she seeks to challenge how and why such categories are present among us and the parallels between objectification of the human body and the colonization of nature. In her aesthetics, she employs a push and pull effect to lure the viewer at the same time as repulsing them through abject meetings between materials such as raisins and knives, satin and spaghetti, peanuts and papier-mâché.
Sustainability is a core condition of Walther’s work: whether it comes to her own sourcing of materials and labor or the consciousness about the biases which shape the perception of art, the dialogue around it as well as the production of art. Her ambition is to create sustainable at that challenges the system and her own position to become more aware of our roles in different networks of power: nature, culture, race, sex, class and technology.
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