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Essay by Drazenka Jalsic Ernecic, Senior Curator, Koprivnica Museum, Croatia


Ri Anderson focused her artistic interest on the sweat imprint at the dance floor. A disappearing sweat imprints as the monoprint of the human body reveals us her fascination with the unstable images and the seductive beauty of vanishing moments. The process and technique she embraced show us some recollection of the common artistic tactics of 20th century's avant-garde as well as elements of the Surrealist techniques of decalcomania and frottage.

The object of Ri Anderson interest is not the human body itself but the marks and traces as an evidence of being. Her photos of disembodied bodies look like a haunting and unerring reminiscence of the wet plate photography. Anderson was intrigued by the aspect of Mysticism focused on the nonmaterial and spiritual level of her inspiration. The photographic portraits of her Mexican circus troupe family and mystical idea of the fleeting moment leads her into an abstract painting that French conceptual artist Yves Klein labeled 'Anthropometry' in the 1950s. In her experiments with the photos of the human frottage, she reaches the strong spiritual connection with the models. With the genuine fascination of the indefinable she literally transmits the experience of the human object that reveals on the floor a spiritual impression of their bodies as an outline of the human soul.

The key idea of the Ri Anderson's portrait anthropometries is the fact that photographers could communicate with the viewer through the power of the astract form. Her personalized sweat imprints achieve powerful but intimate and personal visual message. With the effect of painting, she accomplished the magic that makes up the art of photography.

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