This essay explores Sara-Vide Ericsons paintings and to what extent they portrait her identity. This is viewed upon through two different theories concerning identity presented by Marcia Pointon and Shearer West. The role memories play in Ericsons paintings, both consciously and subconscious ones are examined through Sigmund Freuds theory of Screen Memories. The applied method is an extensive interview with the artist herself. What I have found is that Ericsons paintings, including both nature, herself, and different textiles all to a certain extent portray her identity; they are narrative both in themselves and in their analysis of who the artist is. The paintings that depict both the artist and textiles can be viewed as self-portraits as they tell the viewer something about who the artist is. Her professional identity has also been explored and viewed as experimental and explorative in its abstract and representative style, which gives the paintings a mysterious tone, making them attractive to a wider analysis within the viewer. The relationship between fiction and reality has been examined and I have found that fiction is allowed to take over motifs in order to convey a true emotion or a core feeling.
| Identifer | oai:union.ndltd.org:UPSALLA1/oai:DiVA.org:uu-376585 |
| Date | January 2019 |
| Creators | Franz, Linnéa |
| Publisher | Uppsala universitet, Konstvetenskapliga institutionen |
| Source Sets | DiVA Archive at Upsalla University |
| Language | Swedish |
| Detected Language | English |
| Type | Student thesis, info:eu-repo/semantics/bachelorThesis, text |
| Format | application/pdf |
| Rights | info:eu-repo/semantics/openAccess |
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