The Triangle, the Circle and the Square meet the Fast Food Boat

Installation-Sculpture first shown in Galerie Pelin, Helsinki, 1988. Tampere Art Museum 1989. Pori Art Museum,1990. Turku Art Museum, 1990. Museum of Contemporary Art, Helsinki (Kiasma) 2009. Now in the collections of Kiasma.


In the late 1980s Andersson decided to make his artistic will by making a sculpture-installation, which would combine all the themes he had been using in his art so far.

The main structure is a combination of a fast food kiosk and a boat. The curved design refers to the reverse raked rear window of the Ford Anglia 105 E, an aesthetic memory from the 1960s. The Kiosk with the captain alludes to Andersson’s interest to merge “low” culture with “high”, as well as to his father who was a captain on a cargo ship.

During the 1980-ties Andersson used the primary shapes; the Triangle, The Circle and the Square as a base for exploring Art as a concept, but also exploring his relationship to the stars of the contemporary Art world. The primary shapes penetrate the Kiosk walls and roof, painted in the primary colours. Inside the Kiosk thirty fast food plates of famous 20th century artists’ works are being sold by a woman, a plaster cast of Andersson’s mother, dressed in her original Nurse dress. The captain is a cast of Andersson’s father and has his original captain dress. The only Finnish artist presented is Kari Juutilainen, Andersson’s friend and class mate from the Turku Art School, with whom he talked about art and art theory.

On the outside walls of the Kiosk drawings with the primary shapes as motifs are executed both with a grafit pencil and by pressing out black Sikaflex elastic adhesive, which is Andersson’s statement that you can draw in different ways, as well as you also can “paint” by arranging differently coloured floor materials. The public can step up on the boat, touch the fabric on the counter and look into the Kiosk, thus enhancing the blurred border between life and art.

The captain’s gaze forward is blocked by his hand, on which a sea horizon is painted. This is a comment to art historian Ernst Gombrich’s theory that all seeing is a projection; you see what you want to see!

The back wall of the kiosk has a big foot mark made with a lot of old shoes. The boat needs to be kicked off hard. Especially when the small child – a self portrait of Andersson – in the bathtub, fastened behind the boat, needs get a good ride!

Accompanying the Kiosk is a series of small works, picturing the Fast Food Boat in the seas of Art theory. One of them is a visualisation of a fake spread of, at that time fashionable, art magazine FlashArt, where Andersson has made a fictional interview, where art critic Anders Jan-Eriksson interviews Jan-Erik Andersson. In another one called “Finland is a small Art Country”, Andersson uses Polaroid photographs of excerpts from strongly negative news paper critics about his works. These have sunk under the surface of the sea on which the Fast Food Boat is sailing.

The Fast Food Boat project was also a very personal for Andersson, who casted his parents in Plaster of Paris as a way to get to know them non verbally. Andersson’s father also helped him to build the sculpture. With this project Andersson finished the project with the primary shapes and the commenting on other artist’s works. But the work didn’t become his will or last deed, he decided to continue in the art world!