'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
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
photo: K. van Gelder
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
78 x 103 cm
ink drawing, paper collage, original frame