HVERFISGALLERÍ, Hverfisgata 4, 101 Reykjavik (IS)
Gudny Rosa Ingimarsdottir
If we where to presume that there is one fundamental base for all disciplines of the visual arts and design, we would have to look towards drawing. The architect draws his first stage of a building, just as any designed object has been constructed from the drawing board. Even a magazine or a poster has been organized by a graphic designer through laws of drawing. There is in fact little, if anything, constructed in the visual arts and design, that doesn´t have its roots in drawing.
Since the beginning of modernism visual artist have struggled with understanding the essence of their medium, such as drawing and painting. In their explorations they are motivated by the existential need to understand the nature of things. And even though such a philosophical question may not be verbally in their mind as they craft their art, it is, never the less, a driving force for the artist in his quest for knowledge in his art.
Guðný Rósa Ingimarsdóttir is an artist who explores the essence of drawing. It may not be clear to us, at first, whether to view her pictures as object reality or abstractions. Often they seem like drawings of nerves or tissues that criss-cross over each other or some microscophic cells that swim in bodily fluids. Perhaps one can see a glimpse of an organ or two, if ones imagination wanders in that direction, and some images may even lead us to a body of thoughts, since the artist works with patterns and text. Witch ever it may be, we are made to believe that the artist is portraying an infrastructure a body. The question is; what body is she drawing?
Let´s suppose that a drawing is more than just a two-dimensional picture, just like the human body is more than just a three-dimensional form. The body has an incredibly complex biological system that is as incomprehensible to us as it is wonderful.
In that way I see Guðný Rósa´s pictures. She is like a biologist that digs into the layers of the drawing. She cuts its flesh, wounds it, makes it bleed and sews it back together in order to get closer to its essence. Each picture or image becomes a part of an organic system and geometric structure of the drawing. We are then confronted with an infrastructure of a body. And it is the body drawing itself.
Jón B. K. Ransu