Anders Lindseth (b. 1990, Cleveland, Ohio) is a multi-media artist whose practice includes painting, drawing, and sculpture. His work confronts the omnipresent specter of endings—whether spiritual, ecological, or personal—by channeling themes of impermanence, destruction, and rebirth. Drawing from Tibetan Buddhism, fauvism, and expressionism, Lindseth subverts traditional boundaries between painting and drawing to explore what remains when function falls away.
Central to Lindseth’s visual and conceptual language is a childhood myth: the green flash at sunset. As a boy standing at the edge of a Los Angeles pier, he would strain to glimpse the brief emerald burst his father promised—always just missed. This ritual planted a seed of longing and a lifelong obsession with nature’s elusive phenomena. In his recent work, the green flash has emerged as a key symbol—a metaphor for unseen truths, transient beauty, and the quiet initiation into mystery.
Lindseth’s imagery often features landscapes and object-portraits caught in transformation or collapse—forests, houses, and vehicles mid-destruction. These depictions question our assumptions about utility and permanence, inviting viewers to witness reincarnation through ruin. Influenced by romanticism, Buddhist death meditations, and the American West, his work is informed by early twentieth-century traditions such as the Hudson River School, which cast landscape as sublime and revelatory.
In postcard-based drawings mailed directly to recipients, Lindseth layers text fragments from Wendell Berry and The Triplets of Belleville with mirage-like illustrations. These intimate gestures mirror the quiet rituals of gardening and observation that underpin his studio practice, forming a tactile archive of wonder and grief. His larger paintings are composed using deliberate systems—grids, stacks, and linear rules—that evoke Mondrian’s formal rigor while lamenting a climate-ravaged future.
Whether through mailed ephemera or monumental panels, Lindseth’s work seeks reconciliation between myth and modernity, between personal memory and cultural loss. By foregrounding the green flash and other natural apparitions, he reimagines art as a tool for navigating the world’s disappearances—those we see, and those we miss. He currently lives and works in New York.