From the beginning of his career the artist has been particularly drawn to generic circumstances where art is displayed in a volatile state, scarcely visible at the narrow margin between art and life. Taking advantage of unaesthetic, real-life situations, experienced in absence of artistic ambience, he excelled in drawing attention to neglected pores and corners where his art was fully integrated into a perfectly commonplace ensemble.
From the beginning of his career Finnur Arnar Arnarson (b.1965) has been particularly drawn to generic circumstances where art is displayed in a volatile state, scarcely visible at the narrow margin between art and life. Taking advantage of unaesthetic, real-life situations, experienced in absence of artistic ambience, he excelled in drawing attention to neglected pores and corners where his art was fully integrated into a perfectly commonplace ensemble. In these initial works, in the early nineties, he used to reconstitute a given moment in a series of site specific works showing an unusual daring in furthering the limits of art.
Finnur Arnar's double-edged approach appeared as early as his career and has ever since given his works an extra dimension of contradictory nature. They can be interpreted in a certain way but that does not necessarily prove that that is what they are about altogether. Behind an obvious denotation of a general kind lies a hidden connotation of a particular nature easily opposing that which seems so obvious, most often referring to art and artistic practice in a manner which emphasizes its unusual nature as a professional activity.
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