Imperfect Icons: Andreas Englunds’s Humoristic Explorations of Human Flaws

Andreas Englund, courtesy of the artist

By JONATHAN BERGSTRÖM, December 17, 2024

Swedish artist Andreas Englund’s path from advertising to fine art is marked by a commitment to breaking boundaries, embracing imperfection, and uncovering humor where it’s least expected. His hyperrealist oil paintings, which mix classical portraiture with modern themes, questions cultural ideals of perfection and heroism.

Born in Falun, Sweden, Englund spent over 20 years in Stockholm before relocating back to his hometown. “Life in Falun is simple,” he explains. “Everything is five minutes away, and my kids are happy.” The move, he says, was not driven by the need to escape Stockholm but by the realization that his art could thrive anywhere.

Englund’s transition to full-time artist in 2014 was not immediate. “I didn’t just wake up one day and decide to be an artist,” he reflects. His path began with an exhibition at the Lydmar Hotel in Stockholm in 2008. In 2010, he discovered that social media had opened new doors for artists to connect with global audiences, eliminating the need for traditional gallery representation. This shift coincided with a major breakthrough in his career, particularly thanks to the success of his Aging Superhero series. His work rapidly gained popularity, earning features in publications like Colossal, Vice, and My Modern Met, and even garnered attention from none other than Robert Downey Jr., famous for his role as Iron Man, who shared his art on social media. For Englund, art became a vehicle for storytelling, one that focused on human vulnerability. “In advertising, you’re constantly looking for something fresh, something new,” he explains. “But as an artist, you realize you can be more experimental, more free. You can take a story and push it to its limits.”

Andreas Englund, Shopping, Oil on canvas, 200 x 111 cm

Imperfection has long been a driving theme in Englund’s art. His exploration began with a gym ad he was working on. ”The idea was to take a classical Greek figure, like the discus thrower, this perfect Greek hero, and make him flawed — overweight, small, with no arms and out of shape,” he explains. “The message was simple: ‘Get in shape or end up like this.’ But there was something lovable about that imperfect discus thrower. You couldn’t help but start liking him." This moment marked the beginning of Englund’s exploration of larger-than-life figures. He began reimagining superheroes, kings, and cultural icons, trying to humanize them and expose their vulnerabilities. "When I watch a great movie, I often ask myself what makes it so compelling," he shares. "It’s when a character isn’t purely good or bad. Initially, you think, ‘No, no, they can’t do that, they’re the good guy.’ But then you realize that everyone has their flaws. Take Cartman from South Park, for instance. He’s selfish, mean, and awful, yet there’s something fascinating about watching a character be that imperfect — free, unfiltered, and chaotic."

Humor, especially irony, also plays a major role in Englund’s artistic practice. “I can’t take things too seriously,” he admits. “Being pretentious feels cringey to me. I’d rather laugh at it.” This sense of humor shines through in his Epoch Royale series, especially in a piece called Royal Gangstas, where Swedish kings, including Erik XIV, are portrayed in a completely unexpected way. "The idea is to portray these young kings who were essentially starting from zero, striving to be the best," he shares. "They wanted Sweden to be a standout player in Europe. It’s like modern day hip hop culture — flashy outfits, tons of bling, and acting like you’re on top of the world." He continues, "I’ve been listening to a lot of history podcasts focused on this time, and the more I study these old kings, the more I see parallels with today’s rappers. Fundamentally, they’re very alike; it’s just a different era and place."

Andreas Englund, Royal Gangstas, Oil on canvas, 218 x 180 cm

His process begins with an idea or a character that speaks to him. “I like to create something that tells a story, something that invites people to connect,” he explains. Once he has an idea, he sketches it out, gathers reference material, and starts refining it digitally. “It’s like editing a film,” he says. “I see the image in my head first, then work from there. It’s about balancing the composition, the color, the tone, and the humor.”

Englund is particularly aware of the importance of accessibility in art and mentions that he feels a strong sense of responsibility. "My goal isn’t to create art that everyone will like. However, I do aim to use visual language that anyone can connect with, whether they’re 5 or 80 years old. I want to make work that speaks to people’s experiences, yet still manage to surprise them in a way they didn’t see coming." He adds, “If a circle is too closed off, I can’t add anything, and it becomes boring. But if it’s too open, I feel lost, and I might not get what the artist is trying to say. The best art for me is like a circle that’s almost finished. When I look at it, I see what’s missing and that’s the best part. It’s like solving a puzzle.”

As he looks to the future, Englund focuses less on specific goals and more on enjoying the creative journey itself. "I hope the journey is fun," he shares, placing greater value on the process of creation and collaboration. "I’m a social person," Englund notes, adding that the biggest difference between working alone and with a team is the sense of community. ”Whether it’s an exhibition or a creative collaboration, I want to share that joy and make the journey as fulfilling as possible. I’m lucky enough to be in a position where I can pick projects that excite me, and that’s usually when the best work happens."

To learn more about Andreas Englund, please visit his website and follow him on Instagram @andreasenglundart