Drawing in space, volume or surfaces.
This is the essence of icelandic artist Sigrún Ólafsdóttir, an interesting junction between the two most different media that art can offer: sculpture and drawing. Sculpture is volume, touch, weight. Drawing signifies eyesight, linearity, the abscence of heaviness. Ólafsdóttir’s conjunction is astonishing: her sculpture become transparent, somehow linear, her drawings get an amazing volume. Actually, the artist releases drawing from its traditional connotation, as the first step before facing the three-dimensional work.
The tradition is honored, and at the same time broken.

In her current series “Spirals” and “Ribbons” the eternal dichotomy between two and three-dimension no longer exist. It literally becomes an obsolete discussion, unsuitable and, because of this, exceeded: the artist transcends the bounds
between sculpture and drawing, as her drawings overcome the borders of the canvas.

It’s also plain her prediliction for lines and curving patterns, connected with her conceptual approach: curves are related to spheres, to the oval of the sun or of the egg, the universal symbol of creation. The earth is a sphere, the stellar system is a spiral and energy develops in concentric circles. Circuarity has always had a warm flavor, that reminds us of home, of security, of the eternal recurrence and renewal.
The idea of harmony also returns in the attention for the balance of movement, the continuous equalisation of opposing  principles, the synthesis of stillness and motion.

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