Karin Alfredsson is an artist and photographer, originally famous for her portraits, who discarded all of her subjects in order to devote herself entirely to her first love – nature. Her uncompromising, naked pictures of barren northern landscapes have caused various art critics to associate her work, not to photography but more to painters such as Caspar David Friedrich, William Turner, August Strindberg, and Gerhard Richter.

Everything that could be called "postcard beautiful" is mercilessly excluded. A flower degrades, as do humans, as does lush vegetation and colors. Still, Karin Alfredsson takes all her pictures/films in color. But the pictures are taken during the time of year when the colors are still in the idea, as well as largely daylight. The color is reduced to shades of gray in graphic denominations from the deepest black to the coolest white. The result is a paradox. The soft shifts of the grayscale take the edge off the built-in brutality of the motifs, but at the same time emphasize the infinity, the grandeur. In a natural context, "variability" is a sensitive issue. It brings to mind ongoing debates on environmental threats and climate change, Paris agreements and measures to curb emissions, and, in general, the devastating impact of humans on our planet. But Karin Alfredsson does not intend to use her photographs as posts in the environmental debate, where the human struggle rather looks like David's struggle against Goliath, but with an uncertain outcome. Of course, she could have documented erosion as well as melting polar ice caps, rising sea levels, and the shrinking habitat of polar animals, but her photographs go beyond these signs of the effects of the ravages of time (whatever lies behind them). Or rather: rises above. What she portrays is nature and wilderness that seem to transcend all change. A nature which, when seized by rage, illustrates the shortcomings of man.