Congratulations to Eleonor Andersson for earning her place as a Winner in the Boynes Monthly Art Award July 2024 Edition!

Who are you?

I am Eleonor Andersson, a 22-year-old Swedish-American artist from New York City, currently based in Connecticut, Wyoming, and NYC. Art has been a constant in my life for as long as I can remember. Even as a child, I would bring sketchbooks to restaurants, drawing while we waited for our food. Creating art is essential to who I am. I have always known that no matter what else I do, I will be making art for the rest of my life. This passion led me to Wesleyan University, where I graduated in May 2024 with a degree in Studio Art and Psychology. I completed my painting thesis, titled, "O.C.V: A Self-reflexive Investigation Applying Methods in Ocular Cognitive Vivisection," with high honors under the guidance of oil painter Tula Telfair. Since then, I have exhibited works in shows in New York and Connecticut.

What inspired you to utilize painting as a medium?

Painting has always been my medium of choice.

One of the things I love most about painting is its materiality and texture. There is something deeply satisfying about building and bringing something to life from raw materials. I am drawn to the physicality of the process - the way it requires you to immerse yourself completely in the medium. Painting is messy, and I embrace that.. Even now, I often leave the studio with paint on my clothes, under my fingernails, and streaked across my face. That connection to the material, the tactile experience of creating, is a huge part of what inspires me to use painting as my primary medium.

I am drawn to the fluidity and versatility of oil paint, which allows me to achieve a range of effects. The slow drying time of oil forces you to work with it, creating a dynamic process where the painting almost takes on a life of its own. When I use oil, especially for figures and organic subjects, I feel like the work breathes and comes alive on the canvas. I love how oil can be applied thickly and richly or in thin, luminous layers that build depth.

While I also work with acrylic, I find it more suited for graphic or non-organic subjects where precision and control are key. Each medium has its strengths, and I enjoy exploring how their unique qualities can convey different emotions and ideas.

How would you describe your ARTwork?

My artwork explores the different ways in which we experience the inhibition of the human body and mind, exploring the various methods and techniques that might convey this universal yet highly subjective phenomenon.

My artistic practice revolves around self-portraits, surrealism, and psychological realism. Situated at the intersection of fine art and psychology, my work combines these disciplines to investigate the psyche and investigates the complex relationship between the body and mind. I examine the intricacies of the human "self," encompassing both psychological and physiological aspects. I aim to externalize the mental landscape and visually represent it in the corporeal world.

I take inspiration from artists such as Louise Bourgeois, Frida Khalo, Jenny Saville, and René Magritte. My primary mediums are oil and acrylic paint, but I also employ sculptural mediums such as wood, clay, plaster, and rope.

My practice relies on a deeply immersive process of creation. I embrace the joy of creation and the thrill of experimenting with unconventional materials like coffee, spray insulation foam, and acrylic casting. I aim to create works that are disturbing to look at but insist on being observed. My goal is to produce this conflict within the observer through the juxtaposition of grotesque and beautiful elements, exploring their ability to repel and seduce.

Can you discuss the inspiration and thought process behind your winning work?

"Twisted" is an exploration of the subconscious. The painting depicts a contorted figure holding its head toward the viewer, with bandages falling away to reveal a mutated face sprouting extra features. This imagery symbolizes the complex and often chaotic inner world we all possess. The inspiration for this work draws heavily from Surrealism, particularly in the use of eyes as a motif. In the painting, the multiple eyes represent the unconscious self, awareness, and act as a window into the soul. 

In "Twisted," I wanted to explore the tension between body and mind, and how our psyche can burst forth, imposing itself on our anatomical form. This painting is an investigation into the hidden elements that germinate, leech, and emerge from within, encouraging reflection on the complexities of our internal landscape.

I was also inspired by my interest in scientific experiments and mutations, which is reflected in the bandages and extra features of the figure. The work is loosely inspired by "Frankenstein," where a mad scientist imbues his creation with consciousness. The contorted, mutated figure challenges the boundaries between normalcy and monstrosity, prompting viewers to reflect on how our mental landscapes might manifest physically if given form.

Can you walk us through the technical steps of creating your winning work?

To create this painting, I first wrapped myself in bandages and took a series of photos in various contorted poses. After selecting the main pose, I combined facial features and even the top arm from other images to form the final reference.

The ultramarine blue was initially meant to be an underpainting for realistic skin tones. However, as I was finishing the underpainting, I realized the monochrome blue better conveyed the psychological landscape I wanted to depict. I then refined the underpainting, deepening shadows and adding highlights. Finally, I used a palette knife to apply thick layers of white paint around the central figure, adding texture and contrast.

What do you hope to communicate to an audience with your work?

I hope to encourage viewers to look inward. While my practice is, in part, a way for me to investigate my own self-concept, I want the work to invite viewers to do the same, encouraging introspection and hopefully leaving them with a deeper connection with or at least a different understanding of what makes up their “self.” 

Can you talk about your biggest learning experience during the process of creating your work?

My initial plan was to use ultramarine blue as an underpainting for more realistic skin tones. However, as the painting evolved, I realized it would be more powerful if I continued working exclusively in ultramarine. It felt as though the painting wanted to be blue, so I listened and let the piece guide me. 

I will admit that I am a victim of planning and struggle with deviating from my original idea of what the painting is supposed to look like, but this painting taught me to work with my paintings as they are rather than as what I think they should me. This painting helped me grasp the importance of flexibility, understanding that to create my best art, I must respond to the work as I create it, rather than only seeing my initial plan.

Clinging to a predetermined plan limits my work by imposing mental constraints and stifling spontaneity, experimentation, and opportunities for improvement. Making art is not just about imposing your own vision onto a canvas but rather a relationship between the artist and the artwork. This painting taught me that to allow a piece to reach its full potential, the artist has to work with the painting rather than against it. Instead of trying to fit the painting into my original plan, I embraced spontaneity.

This painting helped me better understand the John Cage quote, "We are breaking all the rules, even our own rules. And how do we do that? By leaving plenty of room for X qualities." To create your best work, you must relinquish agency to these X qualities. To not is to limit yourself, your growth, and your artwork.

Can you discuss your biggest success since starting your artistic journey?

I believe my biggest success since beginning my artistic journey has been completing and receiving high honors on my undergraduate thesis. It was a deeply personal and challenging endeavor that ultimately became a fitting culmination of my artistic development thus far.

I consider my thesis a success because it met my need to create something that I felt surpassed anything I had made before. I learned to balance various elements - painting with sculpture, technique with experimentation, art with psychology, and imagination with reality. In my thesis, I wanted to figure out what my limits are and what my art would look like if I pushed myself up to and past them. While this journey sometimes felt tortuous and required difficult mental, social, and physical sacrifices, I regret none of the trials and am grateful for the opportunity to make such strides. It was a significant step toward better understanding my internal and external worlds, and it satisfied my craving for introspection and analysis.

Achieving this success required me to let go of my initial expectations and adapt my plans as the project evolved. I had to push myself beyond my limits, making difficult mental, social, and physical sacrifices along the way. The journey was often challenging, but I believe the struggles were necessary for my artistic growth and the success of the show.

Can you give us the best piece of advice you have ever heard/received?

The best piece of advice I've ever received comes from the Immaculate Heart College Art Department Rules, specifically Rule 7: "The only rule is work. If you work, it will lead to something. It's the people who do all the work all the time who eventually catch on to things." I pair this with advice from my thesis advisor, who urged me to shift from my analytical mind to my producing mind. This aligns with Rule 8: "Don't try to create and analyze at the same time; they're different processes." The "flow state" is incredibly valuable, and analyzing before creating can paralyze the creative process.

I highly recommend the Immaculate Heart College’s list of Rules to any artist. I find them so helpful that I have them glued to the back of my sketchbook and tacked to the wall of my studio. I often return to them for guidance. While some rules resonate with me more than others, each of the ten offers valuable insight.

As a winner, do you have any advice for artists who want to apply for awards, competitions, residencies, etc.?

My advice is to be persistent and organized. Putting yourself out there can be challenging, but it's crucial to seek out as many opportunities as possible and go for them. It is important to manage your expectations because you will not win every award you apply for. A piece of advice I often think of is that not everyone is your audience, and that's okay. You just need to find the people who understand and appreciate your work. 

Staying organized is also key, and something I am still working on. I have found it immensely helpful to keep a master document where I track all my writing and portfolio materials. This has been vital as I apply for awards and shows.

What projects are you working on currently? Can you discuss them?

I recently exhibited my undergraduate thesis show, which I consider just the beginning of an ongoing project. My painting Twisted is part of this exhibition, titled O.C.V: A Self-reflexive Investigation Applying Methods in Ocular Cognitive Vivisection. The goal was to investigate the self through fragmentation, creating a surreal internal space where the mind and body are dissected, examined, and reassembled.

The title of the show, inspired by my interest in science and psychology, mimics the format of published scientific articles. I see the creation of art as a form of investigation, whether that involves exploring a material, a color, or one’s own mind. I define Ocular Cognitive Vivisection as "the use of visual methods in a live dissection of the mind," allowing for a deep dive into the intricacies of the human "self," encompassing both psychological and physiological aspects.

What is your dream project or piece that you hope to accomplish?

My dream project is to create my own Cabinet of Curiosities. I have long been fascinated by these collections, popular during the Renaissance, which combined natural history specimens, works of art, cultural artifacts, and other exotic oddities.I envision creating a collection of my own paintings and sculptures inspired by curiosities, building frames or boxes around them, and attaching them to form a larger structure. This project would merge my love of science, art, and the mysterious into a single, immersive work.

Lastly, I like to ask everyone what advice they would give to their fellow artists, what is your advice?

My advice is to take joy in the process. Everything surrounding art - applying to competitions, writing about your work, dealing with shipping and installation, and even coming up with ideas - can be taxing. But the actual creation of art is the true reward of being an artist. The flow state is where you can let go of everything else, allowing yourself to play and experiment.

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