Denna uppsats analyserar Cecilia Edefalks konstverk genom ett postmodernistiskt raster. Tre verk - En annan rörelse, In the Painting the Painting, Självporträtt - från 1990-talet undersöks avseende konstens utformning och påverkan av postmodernistiska konstuttryck. Genom diskursanalysens metod undersöks dessutom konstdebatten vid denna tidpunkt då postmodernismen vann terräng i Sverige samt hur konstkritiken yttrade sig avseende Edefalks konst. / This essay analyzes artworks by Cecilia Edefalk through a postmodernist lens. Three artworks - Another Movement, In the Painting the Painting, Selfportrait - from 1990s are examined regarding design and influence of postmodernist expressions. Through the method of discourse analysis the debate of art is investigated, as well as art critics regarding Edefalks artwork, at the time postmodernism developed in Sweden.

Denna uppsats är en komparativ studie där kvinnoporträtt av konstnärerna Lena Cronqvist, Cecilia Edefalk och Sara-Vide Ericson analyseras semiotiskt. Analyserna sker ur ett genusperspektiv i syfte att studera hur de olika konstnärerna avbildar kvinnor och vad som är utmärkande för deras gestaltningar. Urval har skett avseende två verk föreställande kvinnor av respektive konstnär. Efter analyserna sker jämförelser av kvinnobilderna rörande likheter och skillnader. / This essay is a comparative study and a semiotic analysis of female portraits from the artists Lena Cronqvist, Cecilia Edefalk and Sara-Vide Ericson. The analysis are made from at gender perspective in the purpose to study the artists way to depict women and the artists characteristic in these pictures. Two female portraits from each artist has been chosen for the study. After analysis follows comparison concerning similarities and differences.

This study is an analysis of how the artwork Bo, 2020, by Cecilia Edefalk can be interpreted in and of itself as well as with the term anthropocene, and how it can be connected to other similar contemporary artworks. To do this, the study uses semiotic image analysis, and has its theoretical base in anthropocene theory. The result of this study shows that the artwork Bo can be seen as containing a motif that communicates harmony and calmness in its expression. When put in relation to anthropocene the artworks interpretation deepens and shows how the work communicates a critique toward the current human relationship with nature. However, the study shows that the possibility of participation in the artwork speaks for an optimism over a possible symbiotic evolution where humans and nature can co-exist and nurture each other.