Q.E.D., 2016 is a work that evolved out of a number of series the artist has been working on for the past 20 years entitled “Curved Monochrome Paintings.” Technically not actually paintings or specifically monochromes, rather they’re constructed forms often featuring the use of extreme-effect chameleon automotive coatings. The works from these various series are related to the 20th century tradition of monochrome painting. Generally it’s easier to consider the works as painting/sculpture hybrids motivated predominantly by painting history and matters.
The artist’s goal with these works has always been to create subtly interactive and performative artworks. As one moves about such works, and/or as local lighting conditions change, their color and the apprehension of their shape shifts and changes.
The general approach the artist takes to art-making is hypothetical in the sense that an object emerges and coalesces in his mind’s eye as a result of sets of thoughts concerns, questions, problems, inquiries, etc. which he sometimes commences to manufacture. With regard to Q.E.D. in particular, and many works similar to it, although the artist has a vague sense of how the final material statement will present he can’t really know until it’s finished. This is why he chose to title the work Q.E.D., 2016.
Q.E.D. is the Latin abbreviation for quod erat demonstrandum which can be defined in many ways. For his specific interest in this case, however, the artist has chosen to characterize it as “that which was to be proven” or “that which was to be shown.”
As in most of the artist’s work, ASPIRE features a large collection of common materials. It is one of an ongoing series using business cards, everyday objects he finds to be incredibly evocative of many different levels. Reflected in them are the accomplishments and aspirations of those they represent. In them one can find the facts of our existence: name, occupation, title, address, phone-fax-email, nickname, motto, logo, mission statement, etc. In them one can read the details of our busy lives – things bought and sold, services rendered, claims and guarantees made. And in their color, texture, type style and layout one can even find a record of our far-ranging aesthetic sensibilities. Like fingerprints, no two business cards area alike. Despite the relatively standard format, each card somehow becomes a unique, pocket-sized self-portrait. Gathered together, they form an amazing mosaic of human enterprise as well as an interesting archive of a particular time and place.
The text for the 888 Boylston Street project was inspired by its location on a pedestrian bridge high above the main lobby. “Aspire” seemed to be the perfect word to reference not only the human ambition reflected in the cards but also, given an elevated vantage point for most viewers of the work, its other definition: “to rise up; soar.”
The works explore the human condition in all its variety and complexity. The figures are life size and occupy the same space as the viewer so a direct dialogue can be experienced where life and art cross paths. They are androgynous symbols of humanity. They have an amorphous and a deliberately anonymous quality. Despite their seeming anonymity the works are based on the artist’s older son which brings them closer to her as a family.
The figures portray frozen moments of contemplation and discovery and the atmosphere is reflective and meditative. They are firmly rooted in the artist’s Icelandic origin reflecting the power and proximity of nature both in their energy, texture and spirit.