Reykjavík Grapevine - 10.03.2017, Page 40

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Virgin Mary vs. Björk
Helga Thoroddsen explores female sexuality
through classical paintings in her
‘Fabularum’ exhibition
Words: Joanna Smith
Listastofan
March 4-March 15,
Wednesday-Saturday 13:00-17:00
Helga Thoroddsen’s first solo
exhibition, ‘Fabularum’, is cer-
tainly one to see. It will be hosted
by Listastofan, a gallery that has
recently received a grant from
the Department of Culture and
Tourism and aims to work with
up-and-coming artists like Helga,
fresh out of university.
Helga was born in Selfoss, but
received her education from Lon-
don’s Camberwell College Of Arts.
Her distinctive artwork celebrates
female sexuality and empower-
ment through bright, vibrant paint-
ings. She depicts both women she
knows personally and celebrities
like Lady Gaga, Madonna, and—of
course—Björk. Her pre-Raphaelite
style harks back to a time when the
female image was often depicted
as holy, virginal, and maternal: a
beautiful but sexually innocent
figure. In an interview with Reyk-
javík Fashion and Design, Helga ex-
plains how her love of beauty and
the past helped shape her style: “In
kindergarten, I drew pictures of
my mum in a black dress because
I thought she looked so beautiful in
it. I also distinctly remember draw-
ing mermaids and superheroes…
During my studies in London, I
was constantly within a proxim-
ity to the great works of antiquity.
The National Gallery, Victoria &
Albert Museum and all that. It had
a profound impact on my work.”
The use of celebrities in lieu of
the Virgin Mary or Christian an-
gels, in these classical-
style paintings, coun-
teracts the archaic and
sexist notion that women
should be objects of sex-
ual desire, whilst them-
selves remaining pure
and sexless. Take Helga’s
painting of Björk. She depicts the
Icelandic singer in her famous
swan dress, arm raised over her
head, the other behind her back
with crossed fingers, breast half
exposed under the swan’s head,
and a suggestive, wry smile on
her face. She has no doubt been
sexualised, but she is complicit in
her sexualisation, and has power
over it: she is no object. This, when
combined with the classical style
of the painting, an ode to beauty
in its simplest form, creates an
overall sense of empowerment.
This figure is beautiful, sexual,
desirable, but also commanding
and formidable. Helga also uses
“botanical symbolism of antiquity
in its modern-day manifestation.”
That is, she paints modern-day
women holding pomegranates and
pineapples, choosing the fruit as
a reflection of the woman’s indi-
vidual personality, rather than as
a way of representing femininity
as a whole, like the apple classical
painters would use to symbolise
the sin of female sexuality. Her
work is a true celebration of wom-
en: of their individual spirit, and
their right to be sexual beings.
Listastofan has a reputation for
being a space where artists—es-
pecially young artists—can gather
with the community to support and
inspire one another.
As Helga put it, “Lis-
tastofan allowed me
to connect with other
creatives and meet a
bunch of wonderful
people from all over
the place. It is a very
international family.” Certainly,
it’s a place where Helga’s work, in
all its reimagined, experimental
glory, has been accepted with open
arms. One thing is for certain: Hel-
ga is an artist to keep an eye on;
we expect great things from her. If
you want to see Helga’s work, get
yourself to Listastofan by March
15. The exhibition is open from
Wednesday-Saturday, 13:00-17:00.
SHARE: gpv.is/ht3
“The figure
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sexual, de-
sireable”
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