Atlantica - 01.06.2011, Blaðsíða 20

18 A t L A n t i c A
shy away from addressing issues because they might ruffle a few feathers.”
Gunnlaugsdóttir is best known for her art using the medieval technique
of gold leaf and egg tempera, in the style of iconography; a method she
learned in Rome and Florence. Now, the imagery has become cruder but
she still has not turned her back on the iconic style. “‘The Single Mother’ is
for example a poignant piece, depicting a woman past her prime, sagging
breasts and all, carrying grocery store plastic bags. This is the reality most
women live in; they age and there is nothing wrong with that. I chose to
present that fact with a certain esthetic by creating an icon-inspired image
with authentic gold leaf and egg tempera on wood. I am fascinated by
that conflict between the elevated esthetic and raw reality, which contains
enormous beauty. That is what must be done after the economical col-
lapse. To dare to face the situation we have gotten ourselves into, not put
ourselves down but to learn from the situation and move forward," she says.
"Spending a year in a convent in Rome, I remember feeling how comfortable
the Nuns were in their own skin, unconcerned with looks, diet, money and
other matters we are obsessed with, instead focusing on more important
issues concerning spirituality and society. Being exposed to that was very
liberating and eye opening. I had been working as a model and of course
came from a country imbued with a certain outlook. What would they
have thought of my latest works? I suppose they would have been tol-
erant about it. They train themselves to live with love and accep-
tance. But it is not exactly what they would hang on their walls."
According to Gunnlaugsdóttir, her new artwork, first exhibited in 2010,
has been well received, even if it criticizes society. For that she is thankful.
“My fellow artists and other people of the art scene have been particularly
supportive. They realize that artists require certain freedom. The Icelandic
Museum of Art purchased the two largest pieces, which was a pre-
cious pat on the back. However, I’m especially proud of women’s posi-
tive reactions. Some burst out laughing, others simply thank me. We
are much better to one another than we think,” she smiles. “As an art-
ist, I find it highly gratifying when people experience liberation
and joy when beholding my work. Especially when I’m dealing with the world
of women in this manner. Everywhere we look, modern society celebrates
youth, which is unfortunate because we miss out on the experience of older
people. Aging is a beautiful thing. Women must accept themselves as they are.
All I can do is choose that path myself and hope that it emanates out into
society in a positive way.”
A beautiful new book, edited by Páll valsson and published by Eyja, cov-
ers Gunnlaugsdóttir’s artistic career from 1987 to 2011. It is entitled Undir
rós, which translates as Beneath the Rose. “Now I have obviously begun
to say things as directly as can be. But sometimes wonder whether that
is ever possible. In my work, the rose is a common theme. I like how it is
sensual, beautiful, feminine and mysterious but at the same time can be
direct and provocative. It is about manifestations of energy. A rose rep-
resents a mother with a child, an energy chakra and also a sexual organ.
It is an essential part of creation and assigned to us all with the purpose
of giving us sexual pleasure, as well as the pleasure of creating new life.”
Gunnlaugsdóttir says she doesn’t know what the future holds and likes
it that way. “I wouldn’t mind painting again some day. But first I must break
from the weight of my own tradition. I don’t know how long that will take.” a
on the fly
“I create from my personal, female point of
view, drawing from my own reality. Before,
I focused on the spiritual and dreamlike,
whereas these works address the mun-
dane and the carnal, showing unfet-
tered and raw feminine power.”
“i create from my personal, female point of view, drawing from my own reality. before,
i focused on the spiritual and dreamlike, whereas these works address the
mundane and the carnal, showing unfettered and raw feminine power.”
The Path 2007, oil on canvas, 190 x 160 cm.
Mother with Child and Vibrator 2010, eggtempera and goldleaf on wood, 20 x 32 cm.