Eleonor Andersson
Eleonor Andersson grew up in a family that valued the arts, though none of her relatives pursued artistic careers professionally. Despite coming from a family of economics and business majors, she was surrounded by literature, museums, music, and culture. Her family has always been supportive of her artistic journey. Music played an important role in her upbringing—her father and sister played guitar, and her mother played the flute. Her sister also had a deep passion for theater and performance. As the first and only visual artist in her family, Eleonor navigated both challenges and moments of inspiration that shaped her creative path.
From an early age, art was an obsession for Eleonor, a natural and unavoidable compulsion. She remembers carrying sketchbooks everywhere, sketching in restaurants while waiting for food. Making art was not just an activity but an essential part of her identity. This passion led her to Wesleyan University, where she double-majored in Studio Art and Psychology.
Her formal education deeply shaped her work, particularly through an influential painting professor who became both a mentor and a 'studio mother' to her. Learning oil painting in college was a game-changer, transforming her process and expanding the possibilities of her practice. Her undergraduate thesis, titled O.C.V: A Self-Reflexive Investigation Applying Methods in Ocular Cognitive Vivisection, explored selfhood through the lens of both psychology and art. The project examined how we experience inhabiting the human body and mind, using surreal internal spaces to dissect, examine, and reassemble concepts of identity. This interdisciplinary approach—merging art and psychology—became foundational to her practice.
One of the most important lessons Eleonor learned during her thesis was the necessity of relinquishing control. Initially resistant to uncertainty, she discovered that rigid adherence to a preconceived plan stifled spontaneity and growth. Over time, she embraced the idea that the best work often emerges from responding to the creative process rather than dictating it. John Cage’s philosophy, "We are breaking all the rules, even our own rules. And how do we do that? By leaving plenty of room for X qualities," became a guiding principle. She learned that leaving space for the unknown allowed her work to evolve in unexpected and meaningful ways.
Experimentation is a central part of Eleonor’s creative practice. While she primarily works with oil and acrylic, she has explored unconventional materials such as spray insulation foam, coffee, rope, plaster, and raw canvas. Lately, she has been particularly drawn to insulation spray foam, which, when painted and coated with resinous tar gel, takes on a fleshy, bodily quality. She also incorporates found materials into sculptural works, assembling broken computers and keyboards with reclaimed wires to create immersive installations. Her practice often blurs the boundaries between painting and sculpture, incorporating sculptural elements into stretched canvas, paint piping, and textural layering.
Eleonor is particularly inspired by Surrealism, both in its aesthetic and its approach to psychological introspection. Eyes frequently appear in her work, reflecting her lifelong struggle with ocular albinism and their symbolic connection to perception and identity. Portraits and figures are central motifs, acting as vessels for psychological inquiry. She also integrates scientific imagery, drawing from neuroimaging, consciousness studies, and psychological models to explore the complexities of the human self.
Her influences range from Surrealist icons like Magritte, Leonor Fini, and Remedios Varo to contemporary painters such as Jenny Saville and Aleah Chapin. Louise Bourgeois’ exploration of the unconscious mind and Frida Kahlo’s deeply personal symbolism have profoundly shaped her approach. She admires Jenny Saville’s grotesquely beautiful portraits, particularly her ability to deconstruct and reconstruct the female body with bold color and expressive strokes. Magritte’s conceptual approach to Surrealism remains a foundational inspiration, as he introduced Eleonor to the intersection of art and psychology.
When she begins creating, Eleonor follows a specific routine. She wears a well-worn denim overcoat covered in paint, which has become a ritualistic part of her process. Music is also an essential component—lately, she has been listening to a lot of French music, as not understanding the lyrics helps her stay focused. While her ideas originate from internal landscapes rather than direct surroundings, her studies in psychology frequently inspire her work. One example is Twisted: A Case Study, a painting exploring the subconscious through a contorted figure with unraveling bandages and additional facial features emerging. The piece includes smaller works illustrating the figure’s internal state—an anatomical brain model and an fMRI scan filled with eyes—capturing the tension between the body and mind.
Like many artists, Eleonor experiences creative blocks. However, she believes in working through them, even without inspiration. She often turns to reference photos for figure drawing as a way to keep her skills sharp until inspiration returns. One of her most valuable lessons came from working on her 5x5-foot oil painting Nucleus, which had to be completed in two weeks. The deadline forced her to focus on execution rather than over-analysis, teaching her that overworking a piece can weaken both her relationship with the work and its impact on the viewer.
Her art explores the interplay between the mind and body, using surrealism and scientific imagery to externalize the mental landscape. She aims to create work that invites viewers to look inward, using her personal exploration of self-concept to encourage introspection. The most fulfilling aspect of her journey so far has been completing her undergraduate thesis and receiving high honors for it. The project pushed her beyond her limits and became a pivotal moment in her artistic growth.
Eleonor measures success not as a fixed point but as an ongoing journey of experimentation and evolution. She recognizes the importance of balance, having learned the hard way after experiencing burnout from late-night studio sessions. She now prioritizes well-being, understanding that taking time for loved ones and self-care is crucial for sustaining creativity.
To aspiring artists, she offers a favorite piece of advice from the Immaculate Heart College Art Department Rules, specifically Rule 7: "The only rule is work. If you work, it will lead to something. It’s the people who do all the work all the time who eventually catch on to things." She also values Rule 8: "Don't try to create and analyze at the same time; they're different processes." She finds that analyzing too early can block creativity, and she keeps these rules posted in her studio as a constant reminder.
Looking ahead, Eleonor hopes to collaborate with other artists, particularly in a collective setting. She is inspired by the communal spirit of the Surrealist movement, where ideas flowed across disciplines, and she aspires to be part of a similarly cross-disciplinary artistic exchange. Her current projects include a series of oil portrait commissions, where she is refining her finger oil painting technique while balancing client input with her own artistic expression.
Her parting message to readers is simple: Find joy in the process. While administrative tasks and logistics can be exhausting, the true reward of being an artist lies in creation itself. The flow state—where play and experimentation take precedence—is where the real magic happens.
