Andreas Eriksson bases his work on the countryside surrounding his studio. Just over a decade ago, he moved out into the country when he became hypersensitive to electricity, and nature thus became his main source of inspiration. The necessary absence of electric lighting made him particularly alert to alternative sources of illumination for his work, and the effects of natural light that occurred in his home. This inspired him to make ceramic sculptures of light sources such as chandeliers, candles and flash lights, along with drawings, shadow paintings and photos of sun and moonlight or the headlights of passing cars that threw shadows on the walls. In series of paintings, photographs and sculptures, he portrays objects in nature as metaphors for human life. Natural formations can, for instance, suggest human emotions, as in a recent series of works where his molehills cast in bronze symbolise a subterranean world, the subconscious. There is nothing romantic or detached about Eriksson’s relationship to nature. On the contrary, he conveys a highly concrete, quotidian and respectful stance vis-à-vis his surroundings.