Hreinn Fridfinnsson
Hreinn Fridfinnsson
'Autumn leaves November 2009', 2010
variable sizes: here ca 100 x 9 x 7 cm, 7 parts
dried ginkgo leaves, clay
signed, dated on certificate
click on image
Hreinn Fridfinnsson
Untitled, 1976
each ca 30 cx 30 x 2 cm
plaster, 2 parts
exhibited at Centre George Pompidou in Paris (1977), Magasin in Grenoble (1987) and Ars Fennica 2000, Finland (on tour 2000-2001)
click on image
Hreinn Fridfinnsson
photo: K. van Gelder
Entangled, 1998
15 x 14,5 x 10,5 cm, 2 parts
painted wood, edition 3
In many works Hreinn Fridfinnsson has used hands in various ways. In the early seventies a photographed hand stood never for support or help.
In stead these images alluded with loss, the unreachable, fragility, time passing by and the like. In 1976 he casted his finger prints in
plaster and again casted this imprint in reverse, as a counter part; another repeatedly used method to downplay an angle or point of view.
And also the hand refers to the idea of touching and being touched. It just the way one looks at the concreteness of tactility, it is a matter
of perspective while changing the gaze. This duality often appears in his work creating a movement of the mind and eye. The space in between
the one and the other view causes a poetical touch of ephemeral sensitivity, in spite of a tendency to symbolism and there inertia. In the end
of the day time and movements or acts in space are a common theme in his works.
In Entangled (1998) Hreinn Fridfinnsson split image and knowledge into two moments of both place and time. As if he deals with quantum
mechanical phenomena, i.e. two moments do not appear simultaneously. One of the two pieces of painted wood is shown while the other parts may be lying in
the drawers of his studio. In all cases they are never shown together. In this way a kind of mystery hangs around the tine wall sculpture.
© Kees van Gelder
Hreinn Fridfinnsson
Untitled, 1987
78 x 103 cm
ink drawing, paper collage, original frame
Hreinn Fridfinnsson
'Correspondence', 2007
15 x 33 cm
cards in envelopes, metal hooks
signed, dated
Hreinn Fridfinnsson
'8 Drops', 2005
ca 300 x 4 x 1 cm, 8 parts, variable sizes
handmade crystal glass, nails
certificate
Hreinn Fridfinnsson
close-up of crystal glass part, height 6 cm
Hreinn Fridfinnsson
'The Fall', 2005
particle of meteorite purchased in 2005
text, certificate
close-up meteorite
Hreinn Fridfinnsson
'Impromptu', 1997
(leftovers of the day from the studio of the artist)
ca 30 x 18 cm
magnet, metal and certificate
Hreinn Fridfinnsson
'Impromptu', 1997
(leftovers of the day from the studio of the artist)
ca 35 x 20 x 1 cm
magnet, metal and certificate
Hreinn Fridfinnsson
'3 Paintings', 1996
30 x 2 x 0,5 cm
3 parts, paint on stirring sticks, wood
signed, dated, certificate
Hreinn Fridfinnsson
photo: K. van Gelder
'Mont St. Victoire' and 'Voyages', 1998
variable dimensions
left: three framed frottages, right: pairs of flight bar codes
Hreinn Fridfinnsson
'Mont St. Victoire', 1998
ca 32 x 30 cm
charcoal on sketch paper
Hreinn Fridfinnsson
'Mont St. Victoire', 1998
ca 32 x 30 cm
charcoal on sketch paper
Hreinn Fridfinnsson
'Mont St. Victoire', 1998
ca 32 x 30 cm
charcoal on sketch paper
Hreinn Fridfinnsson
'Another Place', 1998 and 'From Montagne Sainte-Victoire', 1998
colour photo on aluminum (left), floor sculpture with variable dimensions (right)
electric fan, sketch book, frottages 'From Montagne Sainte-Victoire'
and close up of one of the sketch papers on the floor
Hreinn Fridfinnsson
'Atelier sketch', 1994
32 x 22 cm
spider's web, dust, framed between glass plates
signed, dated
Hreinn Fridfinnsson
photo: Th. Johansen
'Moment', 1975
3 colour photos
