Lotta Antonsson’s work recalls her fascination with the late 1960s and 70s, in a style where documentary and fiction blur in a merging of social and sexual revolutions. From a process that utilizes techniques of collage and montage there emerges a personal way of looking at the ephemeral nature of things, whether printed matter such as magazines and books, or natural objects such as shells, minerals and driftwood. Antonsson’s analogue cuts and repetitions seize upon the allegorical potential of image fragments, liberating fashion and erotic photography to become explorations of the gendered aspect of their histories. Antonsson belongs to the generation of Swedish artists who emerged in the early 1990s, whose work was inspired by postmodernist art and theory (including a questioning of the male gaze as well as the construction of the woman as an object) and often use humour, irony and self-distance as part of their method.
