At first glance, Cristian Andersen’s works often seem like eruptions whose intensity unsettles not only forms and motifs, but also the spectator’s perception. Organically shaped tree trunks turn into industrial wood, minimalist objects are marked using a spray can, and martial weapons are moulded in soft wax rather than cold steel. Andersen’s works thus convey embarrassing, nightmarishly removed scenarios, which can at times present viewers with ironical moments, for instance when he exhibits a sparrow with a purple ceramic hat sitting on a pedestal.
Testing the boundaries of various media, Andersen’s body of work characteristically formulates questions of inclusion, exclusion, and identity as well as sub-cultural references.
His current work is primarily interested in strategies of territorial appropriation and domination, whose symbolism and semantic character he transposes into aesthetic forms allowing him to address issues of power and its regulation.