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Lotte Andersen is a British artist working in video, sound, print, performance, writing and collage. Examining movement and its properties, continuously within different contexts her work oscillates between investigative, documentary and autobiographical. She considers sound and video physical objects in space, working with the idea that echoic (sound) memory is stored for longer periods than iconic (visual) memory. The viewer is often placed in the work, activating it whilst confronting the politics of taking up space. A document on human behaviour is uncovered using the interesting paradox of producing factual data in the context of artificial environments, captured in video, performance and sound. The work considers the suspension and regulation of time and space whilst often implementing a finite set of principles of conduct. These are setup to record the predictability or unpredictability of reaction. Spontaneous choreography in Dance and the quotidian is considered through the lens of mass migratory, gestural and forced movement. The transparency of feeling through the hypothesis of the therapeutic nature of consistent, rhythmic, group movement it’s psychological aftermath.

The collaged and print works deconstruct ephemeral propaganda. Considering scale and resolution, she works predominantly with widely accessible domestic and industrial methods and machinery within her studio practice. Meme culture, tabloids, flyering, record covers, black power posters and infomercials converge in a filtering system thick with aesthetic, class and cultural bias. Essays underpin the backbone of this work, as words, sentences and images emerge to be processed and reprocessed into works.

The formats employed are intentional, acting as a support system and visual record within which we all become engaged with the suspension and interrogation of time and nostalgic catalysts. developing a video and photographic practice which simultaneously deconstructs subject matter in conjunction with camera format is of critical importance in the dissection of current and various information sharing platforms. VHS, Alexa, iPhone, super high 8, HD, screenshot, these capturing mechanisms each draw out an infinite matrix of access points, potential, believability, hinged on the viewer's ability to discern and filter cinematic quality.

Selected works / shows 2013-2020

“HOW DO YOU FEEL ABOUT LYING ?” Projector, monitors, sound, print, Tate Modern 2018. 






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