Before Photoshop and its heralding of the digital manipulation era, Skoglund created all her strikingly original and sophisticated scenes with tactile materials. Those meticulously staged stories in combination with one dazzling color scheme after another are unfolding, often with live models. The amount of one particular object in her image is often mind-boggling, and the possibilities of interpretation of her works are unlimited.
Skoglund’s background as a conceptual artist before turning into photography was as natural as necessary as she used photography to document her experiments with themes of repetition. The world of Skoglund is however uncannily familiar, as if we have all seen those scenes in our childhood, the fear and the fantasy one never dared to visualise.
In 2019, a new book on her work has been published; Sandy Skoglund (Silvana), which was edited with an extensive introductory essay by the great Italian curator Germano Celant.