Born in 1986 in France, based in Sweden since 2016, Ludivine Thomas-Andersson lives and works in Lesjöfors in Värmland. She carries a bachelor of Art Science from the University Paris 1 Panthéon Sorbonne, and a Master of Fine Arts from the National Superior Art College of Paris-Cergy (ENSAPC) obtained in 2012.
Since then she develops an experimental and demanding art practice, building a body of work where nothing is delivered directly to the spectator. The latter must take his time to really enter it in order to understand what’s given him to see, and thus to perceive the multiple levels of reading her productions.
Over the years her work has focused on a few favorite subjects related to societal issues : social determinism, domination, individual freedom … Topics that she transposes into the poetic and dreamlike sphere. Deeply engaged artistically, her artistic commitment is a dedication to poetry and dreams.
She has a major interest in philosophy that she practices through her work, that she considers a concrete experience of certain concepts. Especially those linked to Existentialism, or more precisely to the philosophy of Absurd of Albert Camus. Gaston Bachelard’s writings are also of great support in her research, where poetry is directly linked to materials: air, water, earth, fire. One can also easily recognize the influence of Greek mythology in her work, however she is interested in oriental cultures too. Buddhist philosophy, Sufism and Taoism have greatly influenced her ideas and the dynamic of constant transformation involved in her work.
In 2016, she participated in the international conference “Adaptations” at the Catholic University of Lille where she had the opportunity to present her research around the idea of destruction, and its highly creative capacity, and on the principle of repetition with its great matrixial power. The work consisted of a group performance including the public and then of an article entitled “The Audience and the Power” which was published in the paper “Résonances” in 2017. These works were of major importance for the continuation of her researches, which she continues since, on these so enthralling topics of resilience and metamorphosis.
Her works “L’Essentiel” and “Tricoter la Mer” are meant to be continued for the rest of her life. Thus they are obviously very important. It emphasize the lively and performative aspect of her work. Such as immense edifices created by an architect who cannot hope to witness their completion, these two highly symbolic processual pieces, are not frozen, evolve and grow day after day, and above all, are intimately linked to her presence and perseverance. Through these pieces, that humbly refer to the magistral work of Roman Opalka, she engages a specific relationship with artistic work. She intensely examine the artwork format and the mission of artist. By depending on her constant action, these works involve a rhythm of their own, almost biological, which does not easily comply with the rules of the museum, the public or the market. Thus, by exploring the status of the work, she call into question the exhibition format in general.