The exhibitions by Sam Anderson (*1982 in L.A., living in New York) act like playing fields, whose grids are populated by small sculptures and assemblages. This world alternates between artificially-associative and true-to-life; the small scale of their works, which are often shown on or near the ground, evoke an overview that is paired with the need to bend down. Smaller objects and figures such as clay donkeys with human riders, skeletons of frogs or birds that seem to suggest action appear to be waiting at the next turn within a narrative. Last but not least, the animalistic brings to mind fables or fabled sequences, offering supraindividual projection areas for basic human needs.
Anderson’s title references specific literary templates, but what is more important is the potential of the images created, which are reminiscent of a film frozen in time and movement. This animation aspect is also to be seen in the production of lighting if, for example, the artist projects light sequences onto the scene. Slowly though, because nature does not change so quickly. But Anderson’s works seem to insist, to play with the point of interpretation and appropriation, where detail and overview can be interchanged and imagination breathes life into the tragic-comic.