Ingólfur Arnarsson (b. 1956) and Þuríður Rós Sigurþórsdóttir(b.1975) are somewhat different artists, yet in this exhibition their work can be seen to relate to painting without it being painting.
In this exhibition a number of concrete works by Arnarsson will be shown. These may initially appear as austere sentinels, irregularly spaced around the gallery. Although identical in structure, where the concrete blocks' outward surface has been pristinely primed variation occurs with a rectangular section, either at the top or the bottom, that is painted with a single muted shade of watercolour. With this form we are confronted with a elemental form of painting. Arnarsson's use of concrete affirms the material nature of the painting, relating it more to architecture and the wall upon which it hangs than to a picture or the decorative. Yet the subtle colour and attention to surface create an unusual softness which unsettles the works apparent minimalist austerity.
While Arnarsson's work is concerned with the vertical surface of the wall, Sigurþórsdóttir's attention is more orientated to the horizontal of the floor and yet it too highlights the nature of the surface. Her colourful printed silk works similarly appear like paintings but laid flat. They are raised slightly off of the ground upon shallow pedestals and yet with some the surface is disrupt by an unseen object just below. This highlights their material form and its lustrous nature. Further the also happens when the silks ripple with any breeze which blows through the gallery. The coloured surface of the works is representational –unlike Arnarsson's which are pure abstraction –depicting drawings of her work -and imagined works –in exhibition settings.
The exhibition invites consideration of material and surface, and what constitutes a painting. Moreover the exhibition concerns how these art works inhabit the space of the gallery, of how they relate to the architecture and how the horizontal and vertical planar surfaces are employed by each artist. To further the spatial dynamics of the work, a special aural performance will be incorporated during the exhibition opening by the Auxpan, an experimental electronic musician.
Ingólfur Arnarsson was born in Reykjavík in 1956. Arnarsson studied at the Icelandic College of Arts and Crafts, Reykjavík and the Jan van Eyck Academie, Maastricht, The Netherlands. He has had numerous museum and gallery shows, including: i8 Gallery, Reykjavík; Hafnarborg, Hafnarfjordur (2013); Safn, Reykjavík (2005); CCNOA, Bruxelles, Belgium (1999); Kjarvalsstadir, The Reykjavík Municipal Art Museum, Reykjavík (1996); and Städtisches Museum Abteiberg, Mönchengladbach, Germany (1995). In addition he has a permanent installation at Donald Judd's Chinati Foundation, Marfa, Texas, USA (1992). He was also a Professor at Iceland Academy of the Arts, Reykjavík (2000-07) and he established and directed (with Petur Arason) the Second Floor, exhibition space in Reykjavik from 1992-7.
Þuríður Rós Sigurþórsdóttir, born 1975,lives and workes in New York, USA. She graduated with an MFA from School of Visual Arts, New York, USA in 2008. In 2000 she completed her BA in Fashion Design from Central St. Martins College of Art and Design, London, UK. She is one of founder and designer in the design group Vík Prjónsdóttir. Þuríður has participated in many exhibitions, including: Cakes, WAY OVER, The Icelandic Art Center, New York, USA (2015); In Production, BOX, Arhus, Denmark (2014); “I’ve never seen figurative electricity” Asmundarsafn, Reykjavík Art Museum, Iceland (2014); Parlor Show, Smidjustigur 10 Reykjavík, Iceland (2013): Vík Prónsdóttir & Eley Kishimoto, Design Mars, Reykjavík, Iceland (2013); Hinumeginn, Hafnarborg, Hafnarfjörður, Iceland (2012); Nordic Fashion Biennale, Nordic Heritage Museum, Seattle, USA (2011); Chinese take Out, Art In General, New York, USA (2011); Hidden World,Spark Design Space, Reykjavik, Iceland (2010); Possible Press Project, New York, USA (2010); Ripped From Something Bigger, Skaftfell, Seyðisfjörður, Iceland (2009).