Born 1963 in Reykjavík, Iceland.
1963 Born in Reykjavík, Iceland
1986 – 1989 The Icelandic College of Art and Crafts, Reykjavík, Iceland
1990 – 1994 Hochschule der Bildenden Künste Saar, Saarbrücken, Germany. Prof. Wolfgang Nestler
1994 Diploma and Meisterschülerin (M. A.)
1996 Artist Stat Grant, capital of federal State Saarland, Saarbruecken, Germany
Penninn Award, Reykjavík, Iceland
Her art work is in many important collections and museums. Solo exhibition in Museum Montanelli, Prag/Czech Republic Wilhelm-Hack-Museum Ludwigshafen/Germany, Gerðarsafn Kópavogur Art Museum /Iceland and Living Art Museum (Nýlistasafnið), Reykjavík/Iceland. Group exhibitions in LÁ ART MUSEUM, Hveragerdi /Iceland, Mestrovic-Pavillon, Zagreb /Croatia, Saarlandmuseum Saarbrücken /Germany
“Sigrun Ólafsdóttir occupies an exceptionally independent position in contemporary art.”
“Sculpture, construction and drawings are the main focus of her creative energy.
Her work reveals a high degree of variety in both intellectual concept and material
realization. […] There are some relatively small constructions, sometimes referred to as limited edition objects, and other larger sculptures and sculptural installations that can fill a large space (the Double Helix in the Sparkasse Bank in Saarbrücken is a typical example). In her installations the borders between the work itself and the space that contains it are blurred in a stirring way.
Both convincing and unmistakable is her use of a simple visual vocabulary that has its origins in historical constructivism. […] Effortlessness is an essential characteristic of her work. Even the large-scale sculptures have a filigree and fragile effect; indeed the three-dimensional line is very often the work’s constituent driving force. In this way the artist moves from the line over the surface to space, from the ground, from the wall up into the sky.
The materials that Sigrun Ólafsdóttir uses with ease are pure and simple: wood, steel, aluminum, plaster and lead. A single raw material tends to dominate a particular artefact lending it an explicit visual substance and persuasiveness.
Sigrun Ólafsdóttir injects new impetus into contemporary sculpture. Using simple devices, she creates a variety of concepts and aesthetic formulations which engender completely new dimensions in the context of contemporary sculpture.
Relatively recent is a series of drawings that should not be seen as “classical” studies, but as
autonomous sculptural drawings. The line also plays the central compositional role in them, creating a conceptual parallel to the sculptural work. In this context, the drawings, especially those from recent years drawn on an exceptionally large scale (100 x 200 cm or 180 x 180 cm), ultimately call into question the whole notion of the medium while at the same time pushing the boundaries. Her technique is innovative. She works with Indian ink and gesso (chalk base) which has a tendency to make one think of painting. In this way she successfully transposes her sculptural, three-dimensional concepts into a