Selected Works

Ludivine Thomas-Andersson (b. 1986, France) is a French artist based in Lesjöfors, Sweden. She graduated from the École Nationale Supérieure d’Arts de Paris-Cergy (ENSAPC) in 2012, following a Bachelor’s degree in Fine Art at Sorbonne University.

Her practice is process-based and unfolds through simple, self-imposed protocols developed over extended periods of time. Working across painting, textile, drawing, installation, and performance, she employs repetition, accumulation, and gradual transformation as structuring principles. Time is approached as a material, and making as a mode of inquiry.

Rather than producing autonomous objects, Thomas-Andersson conceives works as evolving situations that respond to duration, space, and viewer presence. Many of her projects incorporate slow growth, erosion, or disappearance, allowing instability and change to become generative forces within the work itself.

Through these sustained processes, she examines questions of labour, value, and persistence, reflecting on the social and political conditions that shape visibility and productivity. By privileging slowness and non-teleological gestures, her work proposes alternative forms of engagement grounded in endurance, attention, and shared responsibility.

Her work has been supported by the Swedish Arts Council and developed through international residencies, including a six-month residency in Berlin (FRESH A.I.R., 2021–2022). She co-founded the artist-run space Tables.empty.workshop in France and has taught art history at Örebro Art School.

She lives and works in Lesjöfors, Sweden

L’Essentiel, 2015–ongoing

Process-based work, oil on canvas, 73 paintings in its current state.

An ongoing cycle of one hundred sky paintings in which future images will progressively cover earlier ones, allowing the work to continue without expanding materially.

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Displacing Territories, 2021-2022

Multidisciplinary body of work – sound installation, sculpture, cyanotypes, painting, video. Developed during the Fresh A.I.R. residency of the Berliner Leben Foundation; exhibited at Galleri Bulowstrasse 90, Berlin, 2022

An interconnected body of works in which images, sounds and spatial structures are displaced across different scales and locations, turning movement itself into a mode of experimentation on migration.

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Leave No Stone Unturned, 2018

Installation, Doubled-sided printed cardboard. 8 pieces, 50 x 70 cm each

A portable installation in which a fragmented landscape can only be reconstructed through the viewer’s movement between double-sided images.

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Tricoter la Mer (Knitting the Sea), 2015 – ongoing

Textile work (hand-knitted installation), wool. Approx. 10 m × 4.5 m (current state)

An expanding knitted surface translates the repetitive labour and apparent endlessness of the sea into a process in which no stitch may be undone.

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Multiverres (Glassyverse), 2018

Site-specific installation, the Contemporary Garage, Örebro. Display cases and glass objects. 450 × 200 × 300 cm.

Nested display cases and glass objects extend the logic of the vitrine across successive scales, incorporating the exhibition space itself into the work.

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The Audience and the Power, 2016

Performance, 20 min.

A performance that redistributes authority between artist and audience, turning spectatorship into an active situation of participation, choice and responsibility.

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Diary, 2025

Charcoal on paper, 100-page book

A daily record of the sky in which the repetition of a single motif replaces the events conventionally recorded in a diary.

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Les Sommets de la Gloire (The Heights of Glory), 2019

Installation. Broken glass, dimensions variable

Broken glass fragments are arranged into a mountainous landscape, constructing an image of elevation and grandeur through a fragile and potentially hazardous material.

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Bis Repetita, 2018

Video performance, 8 min
A1 heavyweight white paper

In this performance, the artist repeatedly attempts to produce two identical balls from sheets of heavyweight A1 paper, using the force of her entire body without achieving a match.

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Repentir, from the Black Paintings series, 2013

Oil on canvas, 120 x 120 cm

A black painting made through a single irreversible layer, allowing the underlying image to emerge only through variations in surface and light.

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Personal Museum, 2021

Installation of four boxes containing approximately 150 miniature artworks, scale 1:24, dimensions variable.

A miniature museum bringing together completed, projected and imagined artworks, unsettling the boundary between an existing body of work and its possible extensions.

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Chambre (Room), 2011

Site-specific video installation. Two videos, video projector, television, bed, lamp, books and found objects, dimensions variable

A reconstructed bedroom brings together autonomous videos, texts, objects and temporalities through a contrapuntal spatial structure.

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Memento mori, 2011

Video installation. Video, television, armchair, cabinet and carpet, dimensions variable

A solitary viewing position places the spectator in a mirrored relationship with an elderly woman filmed listening silently to the conversations around her.

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Second Souffle (Second Wind), 2014

Oil on canvas, series of paintings, various dimensions

A series of swimmers whose fragmented bodies, scale and suspension establish a physical relationship with the viewer’s position.

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La Respiration des pierres (The Breathing of Stones), 2009

Animation. Black ink on paper, 5 minutes

A hand-drawn animation in which the repeated tracing of a stone gradually makes the static form appear to breathe.

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