Review by Marco Caccavo, journalist and art critic

«Liselotte Andersen, sculptor and painter, is a visual artist with an eclectic universe. Before settling in Provence in 2002, she was an insatiable traveller, drawing on a range of existential experiences that led her to live in continents as diverse as Africa, Europe and Asia.

The artist, always sensitive to self-experimentation and encounters with others, translates his experiences and ideals into his art.

His brightly coloured creations, which combine metal with earth, are a hymn to the unbreakable fullness of consistency and a poetry of obvious presence, clear and pure, like the affirmation of every human act.

In his sculptures, the weight of physical matter is energised, as in Henry Moore's work, in an act of creative energy, in an en train de. His works, as they move through space, fill the void that surrounds us, either through an exploration of the out-of-self, or through a material fusion in the body of another.
All his works nurture a mystical aura around them, and this sacredness takes them out of the flow of time and space, as we conceive them, and places them in the world as art objects. And in this ethereal atmosphere, the leap into the void of the other, which these projections of human sensibility must accomplish, is made through a luminous emanation of their fullness of being.
This distance that separates him from the unknown is the same distance that we have to overcome, with a surge of feeling, when we go towards the other.

Without reason, without why; as we feel it in our will.

Even his sleeping sculptures are alive and bridge this distance. These sleepy figures are reminiscent of those at Pompeii, killed in the dream, when they were filling the darkness with unconscious, and yet vibrant, real imagination. Liselotte Andersen's creations, with their lines stripped of any hesitation in movement, trace a dynamism that saturates the environment that contains them, overflowing it and surpassing it. In this way, she creates an appropriation of space through a centrifugal force that starts from the heart, from the will, and radiates outwards towards the unknown and its irresistible call. The material, which the artist models using his spleen and his ideal, is always the vanishing point from which space is created. It is the full that is imaginary, born of an unconscious movement: it is the full that reinvents the empty, in a curve of emotional vibrations, where the art object is real and takes on meaning.

Liselotte Andersen's world is one in which the sculptures and paintings are all suspended in balance and move forward gently, as if driven by a spontaneous, visceral expression, just as human sensitivity is in its purity».»

By Marco Caccavo
Journalist & art critic