Visual Artist


2016-17 Conspiracy of Pleasure/Nautn. Akureyri Art Museum/Listasafnið á Akureyri, Akureyri and LA Museum/ Listasafn Árnesinga, Iceland
The focal point of this exhibition is the various laws and manifestations of pleasure. New works from six artists who approach the concept, each from their own perspective and premises; open up a dialogue on the role of pleasure in a philosophical, artistic, and worldly context. The works display obsessive manifestations of modern consumerism and sex life, the flesh in art, the human body as a symbolic phenomenon and inspiration, or simply the primitive pleasure which often accompanies art creation during the struggle with material and texture, compulsions and fetishes.

Where do the boundaries lie between normal and humane nurturing of pleasures and joys, on the one hand, and submitting to them without restraint, on the other hand? When does anything become a fetish? What is the difference between sensuality and excessiveness, eroticism and pornography, beauty and kitsch, desire and addiction, ambition and greed, lofty goals and nonsense? And who has the power to put forth these definitions?

The catalogue Nautn / Conspiracy of Pleasure was published by the museums. Various programs and talks followed Nautn / Conspiracy of Pleasure;  artist’s talks, talks about various aspects of pleasure and conspiracy: Auður Ava Ólafsdóttir writer and art historian, Ágústa Ragnarsdóttir visual art teacher, Markús Þór Andrésson author of the text in the exhibition catalogue and head of the Exhibition and Education department at Reykjavík Art Museum, and Salvör Nordal director of the Center for Ethics of the University of Iceland.


2015-16 Eyborg Guðmundsdóttir & Eygló Harðardóttir at Skaftfell – Center of Visual Art, East Iceland

Eyborg Guðmundsdóttir (1924-1977) and Eygló Harðardóttir (born 1964) are artists from two different generations yet whose work shares common concerns around the description of space and the function of colour.
Eyborg Guðmundsdóttir’s work uses distinctive geometric forms and vibrant colours to suggest confounding spatial paradoxes. Although she had regular studio visits with Dieter Roth, and when she went to Paris studied with the op-artist Victor Vasarely, her paintings transcend these specific influences. They display a continuity with the op-art movement yet also incorporate elements of pop art, in their suggestion of the structures of the modern and physical world. The paintings can appear deceptively simple, yet they often employ ingenious compositional strategies, to create the illusion of three-dimensional space. In relation to this aspect the constructions of Eygló Harðardóttir could be thought of as models of the suggested spaces of such abstract paintings. While Eyborg’s paintings appear as objective and hard edged, the sculptures of Eygló are more speculative and tactile in nature.
For Eygló Harðardóttir there is an attention to the ways in which colour functions and affects the perception of an object. Her choices of material and construction approaches give the objects a particular immediacy. In a sense the work displays something of the notion of bricolgae, that is using materials that are to hand for efficiency of articulation. As such the work can be seen to appear as propositional, as a possible states of existence, rather than an ideal one. In respect to Eyborg’s paintings, these rough forms appear to question the possibility of the former’s objectivism. They seem to suggest that the real world can’t adhere to the idealism of the abstract pictorial plane.
This exhibition presents two bodies of work which engage with the nature of of abstract composition and the ways in which its forms accrue meaning and significance. The work of Eyborg seen in relation to Eygló’s gives a comprehension of the ways in which her concerns are still pertinent to artists working today.

Text by Gavin Morrison a honorary artistic director at Skaftfell 2015-16. Gavin runs a small project gallery in the south of France, IFF, and directs Atopia Projects, a curatorial and publishing initiative, while also working freelance curator and writer.

2015 Relational System/Venslakerfi at Harbinger; Artist-run Space, Reykjavík, Iceland

The positioning of the works creates a context. They were produced with the space in mind, and deal with three-dim­ensional painting. Through technical and material experiments with paper and wood, the works have developed into layered paintings and patched-up sculptures. The obvious, material information in the work is intertwined into relations and systems which can be affiliated with the physical, subjective and obscure dimensions of human existence. They do not deal out concrete results, but guess at possibilites. They speak perception and tactility, rather than facts and logic. What ignited the process and influenced the making of the work was the material of which they are made, some natural phenomena and its material being, texture or light – physical perception which causes a spiritual reaction and vice versa. The work reflects the colloquial world we experience and which is formed by reactions arranged in a relational system.
Text by Eygló Harðardóttir

2015 Parallel Views at Týsgallerí 

These days artist Eygló Harðardóttir is exhibiting her work at Týsgallerí, at Týsgata 3 in Reykjavík. The exhibition’s heading, Parallel Views (Samsíða sjónarhorn), refers to a specific method of displaying three dimensions on a two dimensional surface without perspective, a technique used in Eastern classical art, architectural drawings, and computer games. This connection to isometrics triggers ideas about a world where all dimensions are close and of equal importance.

Eygló works with visual phenomena. Explorations of this form are never the endpoint of her works, but rather one of many parallel dimensions in a multi-layered process. Phenomena like afterimages evoke questions such as what impressions or events from the surroundings elicit ideas, and whether it is even possible to comprehend that relationship, or the function, between inner and outer reality. The works in the exhibition which refer to architecture are reminiscent of ruins or abandoned farms where the inner and the outer world have merged, or nature re-joining the man-made.  The afterimages and the impressions exist like material phenomena and real events, although they possibly exist on a “finer” frequency and are not defined by time and space. Each image calls for another; each colour conjures an opposite colour, like some kind of perverse echo or a reply.

Eygló uses delicate and pliable materials, but her process is safe and stable and the materials strengthen during the process. One of her works, a type of wind gauge, is more reminiscent of a horizontal millwheel than a traditional wind gauge which turns without resistance. These works have gone through numerous permutations during their creation and as such, encompass these transformations. The process is transparent and the raw quality of the works keeps all options open. The spectator needs to be susceptive to tiny aspects, such as the granulated edge of a paper which serves as a gateway into the work because it literally opens up the material, creating a fusion between the work and the spectator. The exhibition works (painted sculptures/three-dimensional paintings) thus have a direct physical effect and need to be experienced first-hand. Both the materials and the interpretations are open; they are penetrable.

A review of the exhibition, written by artist Kari Ósk Grétarsdóttir. Published by SÍM, The Association of Icelandic Visual Artist in Stara no 3, online art magazine:


2008  The Village, ART Ii Biennale, Finland

Eygló Harðardóttir – The Village
When concrete made its entry into Iceland the early twentieht century a new chapter began in the history of Icelandic architecture. Farm buildings with turf walls disappeared into the past and wooden houses became less common. Concrete had a positive impact on the standard of living and became the main construction material. In recent years it has been associated with greed and excessive optimism as construction projects far exceeded the need for housing. Eygló’s Harðardóttir’s choice of material and title for this environmental work that refers to a cluster of houses makes this history an underlying subject for Village. The four blocks are made of concrete that has been cast into the ground like building foundations. The outside walls of the pieces form a framework for a base that has been divided into smaller compartments. In spite of this connection the pieces do not resemble replicas of whole buildings, but are more like fragments from a larger planned project. The small blocks reach halfway up from the ground where they stand open and exposed to all kinds of weather. Wind-blown leaves and rain have easy access to their bottom where they can accumulate despite of a drain linking it with the soil. Therefore water and vegetation residues may temporarily become part of the work and influence its meaning. Withered leaves and rainwater arouse thoughts of abandoned buildings, whether ruins of an old village or remnants of a relinquished building site. The Village may give the impression of desertion but it has also a more profound meaning as a symbol for the psyche, the dwelling place of intangible thoughts and feelings. The mind receives constant stimuli from the environment that it processes and stores in different zones as souvenirs. Those are made from real contacts with both nature and society. The cluster reminds us that isolated events we may encounter are interrelated and affect our perception of the world. The inner walls of the blocks indicate a spiritual dimension of transformation that appears from a dreamlike reflection of so-called color-remains from the environment. The peculiar brightness of these pale colors counterbalances the thick concrete but together they reveal a fainting memory. Our quest for experience and its mental transformation shape the core of Harðardóttir’s work as she boldly lets herself be guided by intuition that travels the border of dreams, memories and the concrete.

Margrét Elísabet Ólafsdóttir. (Margrét has been a journalist since 1987 and lecturer in modern and contemporary art history at the University of Iceland and in new media art history at the Arts Academy of Iceland since 2002. Margrét is a founder of Lorna, an association for electronic arts and a co-member of board at the Icelandic Association of Philosophy)