Ludivine Thomas-Andersson
Selected Works
Doctoral Application, HDK-Valand
This portfolio presents a selection of works developed over fifteen years of artistic practice. Rather than following a strictly chronological order, it is organised according to the role each work plays within the proposed doctoral research.
The first section is centred on L’Essentiel, the core work and primary field of experimentation. The second brings together the main works through which the research questions are articulated across different media, social structures and modes of spectatorship. The third presents an extended research field: works that develop, displace or isolate particular aspects of the inquiry while remaining active within the practice. The final section traces its genealogy through earlier works in which contrapuntal composition, spatial organisation and the embodied position of the viewer first emerged.
Together, these works reveal a continuous investigation into the transposition of social structures into artistic gestures, processes and configurations, and into the ways artworks make conditions of existence perceptible and experimentally accessible.
Core Work
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.
Main Research Works
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.
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.
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.
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.
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.
Untitled, 2018
Site-specific installation, Örebro Konstskola. Projection screens, overhead projectors, oil paintings, dimensions variable.
Empty projection screens and overhead projectors transform the classroom into a labyrinth where instruments of transmission obstruct movement and withhold the image.
Extended Research Field
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.
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.
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.
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.
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.
Genealogies
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.
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.
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.
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.
Éteindre (To Extinguish), 2012
Oil on canvas, unstable pigments including natural cinnabar, accelerated ageing protocol
50 × 80 cm
Developed in collaboration with pigment chemist Marie Radepont as part of the ENSAPC Art and Science exchange programme with C2RMF
A painting subjected to accelerated ageing, incorporating irreversible deterioration into its process of formation.