Andreas Eriksson’s meditative works offer a unique window onto the artist’s rural surroundings in Medelplana, Sweden. Describing them as “existential landscapes”, Eriksson is typically known for his subtly textured paintings of the natural world. In recent years, the artist has expanded his formal language by making large-scale, handwoven tapestries rendered in subtle hues of undyed yarn. Hovering between abstraction and figuration, both his paintings and tapestries can be interpreted as patchwork topographies or details of organic forms such as trees, earth and rock formations. This Online Viewing Room highlights the formal and conceptual connections between these two distinct aspects of Eriksson’s practice, both united in the artist’s enduring interest in the passing of time and his relationship to the canvas. The OVR is accompanied by a digital and written commentary from Hettie Judah, art critic and regular contributor to The Guardian, Frieze and The New York Times.