Katrín Sigurdardóttir’s edition for SculptureCenter is based on her critically acclaimed work Foundation, a large-scale installation comprising a raised ornamental surface, mapping out the floor of a fictional 18th century pavilion. Hand-made tiles form intricate patterns in the baroque style, and visitors are invited …

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Katrin Sigurdardóttir is an installation artist who creates disorienting environments meant to alter a viewer’s sense of perceived and embodied space. In her early works, Sigurdardóttir created sculptures resembling furniture from cut foam, which appeared to be renderings of Icelandic topography. More recent works have taken interior architectural elements—shelves, storage compartments, floors, ceilings, and supports—as the material and conceptual basis for transformation into fantastical spaces. Conversely, many of her modifications borrow from the exterior world, most frequently natural settings in Iceland; common imagery includes glaciers, rivers, mountains, rocks, and lava fields. Viewers encountering her work are often required to wander around mazes, duck through short doorways, or climb up ladders.

Selected exhibitions
2017
SculptureCenter at UNTITLED Miami Beach 2017SculptureCenter
2016
SculptureCenter at EXPO CHICAGO 2016SculptureCenter
2014
There is no such thing as a good decisionJosée Bienvenu
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1 out of 100 parts, 2014

35 1/2 × 36 × 2 1/2 in
90.2 × 91.4 × 6.4 cm
Editions #1-2, #7, #9-12 of 12
.
$6,000
Location
Long Island City
Certificate
This work includes a certificate of authenticity.
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Katrín Sigurdardóttir’s edition for SculptureCenter is based on her critically acclaimed work …

Medium
Certificate of authenticity
Included

Katrin Sigurdardóttir is an installation artist who creates disorienting environments meant to alter a viewer’s sense of perceived and embodied space. In her early works, Sigurdardóttir created sculptures resembling furniture from cut foam, which appeared to be renderings of Icelandic topography. More recent works have taken interior architectural elements—shelves, storage compartments, floors, ceilings, and supports—as the material and conceptual basis for transformation into fantastical spaces. Conversely, many of her modifications borrow from the exterior world, most frequently natural settings in Iceland; common imagery includes glaciers, rivers, mountains, rocks, and lava fields. Viewers encountering her work are often required to wander around mazes, duck through short doorways, or climb up ladders.

Selected exhibitions (3)
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