The works of Andersson embody a new kind of landscape painting reminiscent of the romanticism of the late nineteenth century, while simultaneously embracing the contemporary interest in multidimensional, psychological compositions. Her panoramic scenes draw inspiration from a variety of photographic archives, cinematic images, theater sets, and period interiors, as well as from the barren geography of northern Sweden, where she grew up. The paintings use a selection of motifs that run through her career: bare branches and thick-barked pine trees, domestic interiors, horses, and young girls. The images resemble still lifes and continue a tradition of quiet, dreamlike domestic scenes from Scandinavian artists such as Vilhelm Hammershøi and Edvard Munch. As part of a self-conscious effort to capture an experience rather than a specific event, the compositions are freer and more abstract. The splendid color renderings bring to life the textures of brushstrokes, loose washes, and bold graphic lines on the page. The book also includes a new essay by the renowned author Karl Ove Knausgaard. Lost Paradise is published in conjunction with an exhibition of the same name presented at David Zwirner, New York, in 2020.