The subject of numerous museum shows, Anders Krisár’s work, often focuses on the human body. Krisár’s sculptures often features or makes reference to the human form, exhibiting a preoccupation with formal rigor and abstraction.
Using this exacting approach, he employs precision of form to create intensely personal, psychological landscapes. Krisár’s sculptures – immaculately produced, and often bear a deliberate blemish that is itself impeccably rendered – are discomfiting, objects of simultaneous horror and beauty. The Birth of Us (Boy) features a child’s torso, marred by the indentation of two adult hand prints; in M the life size figure of a boy is split in two and then rejoined, so that a single figure becomes two halves, severed twins clasping hands. The violence that underpins both these sculptures is a recurring theme and is rendered with care and deliberation, so that it appears both aesthetic and inevitable. The sculptures are uncanny because of the meticulousness with which they are executed; according to Krisár, “I’m a perfectionist because I have to be, it’s not really a choice. And it’s not a striving for satisfaction, it’s rather to avoid pain.”