STARA - 16.04.2015, Blaðsíða 39

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This connection to isometrics triggers ideas
about a world where all dimensions are close
and of equal importance.
Eygló works with visual phenomena. Explora-
tion of that kind is never the endpoint of her
works, however, but rather one of many parallel
dimensions in a multi-layered process. Phenom-
ena like afterimages evoke questions like 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 have merged or nature
rejoined the man-made. The afterimages and
the impressions are there like material phenom-
ena and real events although they possibly exist
on a “finer” frequency and are not defined by
time and space. Each image calls for another
and a color conjures an opposite color like some
kind of a perverse echo or rather a reply.
Eygló uses delicate and pliable materials but
the process is safe and stable and the materi-
als strengthen during the process. One of the
works, a type of wind gauge, is more reminis-
cent of a horizontal millwheel than a traditional
wind gauge which turns without resistance. The
works have gone through numerous permuta-
tions during the process and 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 like the granulated edge of a paper
which serves as a gateway into the work because
it literally opens up the material, creating a fu-
sion between the work and the spectator. The
exhibition works (painted sculptures/three-
dimensional paintings) thus have a direct physi-
cal effect and need to be experienced. They are
open, both the materials and the interpreta-
tions; they are penetrable.