Drawing from such varied sources as archival photographs, filmic imagery, and theatre sets, Mamma Andersson’s paintings depict mysterious domestic interiors and eerie, dreamy natural landscapes that recall the artist’s native Sweden. Andersson’s works on display at the 14th Gwangju Biennale portray anonymous interior settings, which are a recurring subject in the artist’s practice. Rather than affirm the presumed stillness and tranquility of domestic spaces, the paintings convey a sense of uneasiness and discomfort through reference to a storm (A Storm Warning 2021), the awkward cropping of a nude figure (The Maverick 2014), a painting hanging loosely amongst other still lives (Artefakter med Fikus / Artifacts with Ficus 2021) and stacks of papers and books haphazardly placed on top of each other (The Cabinet 2016). By subverting the connotations most associated with domestic spaces, such as femininity, serenity, and comfort, Andersson’s paintings offer an unfamiliar perspective on the gendered assumptions of everyday life.