Annsofie Jonsson is a Berlin-based Swedish artist and a member of Studio Baustelle art collective since 2018. She has an education in art and a Masters degree in Education from Malmö University in Sweden, where she also lived and worked as an Art teacher before moving to Berlin in early 2018. She has exhibited work at Galleries both in Sweden as well as in Copenhagen and Tokyo.


Her style of painting is semi-abstract, expressive and intuitive, pulling inspiration from hypnagogic impressions and from the material itself using experimentation as a way into the artwork. Her works are full of vibrant colors with contrasts between surface and depth, the mystical and the whimsical.    


In the LUST exhibition, Annsofie Jonsson uses LUST as a primary driver through two different applications in the creative process: In one, LUST is the intuitive and playful interaction between artist and object that creates itself through exploration of form, color and materiality. In the other, LUST is the primordial sexual force used to invoke hypnagogic states through sex magick, inducing visions of the Enochian Aethyrs. The visions are immediately transferred to visual and aural expressions within the ritual framework itself, not leaving any room for aesthetic intentions or processing.


The Enochian magic system originates from the occult work of John Dee, an English/Welsh mathematician, astronomer, astrologer and occult philosopher, who also was an advisor to Queen Elizabeth I during the16th-century. Dee claims he received the Enochian Language from angels, which allowed him to access the 30 Aethyrs through the Calls or Keys of the system.


Annsofie used the Calls with The Tablet of Union (Fig.1) and the Watchtowers (FIg. 2.) as visual keys to open the gates of the Aethyrs. She then used sex magick (LUST) to induce a hypnagogic state that allowed her to enter the gates and explore the visionary states of the Aethyrs. The approach was to use ritual magick as a method rather than a religious practice, besides the temporary suspension of disbelief which is essential to all magick. 



Fig. 1. Tablet of Union, or Black Cross


This allowed Annsofie to investigate if this method could be used to induce a hypnagogic and visionary state for creative purposes independent of any religious connotations of the system. During the ritual, while in the hypnagogic state, Annsofie would paint her visions and then close the ritual when finished. The audio illustrations also presented in the exhibition are generated in a similar fashion by Håkan, her partner, within the ritual itself. She made no modifications on the paintings afterwards, except for adding a layer of protective varnish. 



Fig. 2. Watchtower of the Great North


In the LUST exhibition the methodological approach of the Aethyr paintings and audio illustrations contrasts with the playful approach of Kintsugi Garden and the collage series, both incorporating LUST as an essential element, questioning whether the role of the artist changes with the process. Is she a creator or a medium, or both, and does it matter?

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Title - Kintsugi Garden 



Acrylic, ink, charcoal and posca on canvas.