Sirra Sigrún Sigurðardóttir
Sirra’s work is cosmic in nature, often connected to speculations about our position within the inner workings of nature, physics and the forces that drive the world. Her works often display our position as individuals, our significance and insignificance where the small is shown in context of the large, and meaning transformed from one phenomenon to another, creating a new perception, new vision.
Unlike art, scientific information and data is often presented in a reliable, unequivocal, and easily understood manner, with a trustworthy form such as diagrams, thermographs, mathematical models, and pie charts, to name a few. This is a good way to tell us something concrete and definite about our world and man’s position therein. Sirra has repeatedly used the appearance and the gist of these forms in her art. However, the presentation casts a new light on the information, and on the disambiguation of information in general, creating a distance of sorts. The scientific measuring devices are elevated but at the same time also questioned. A spin in the artist’s test tube often creates a different, and wider, viewpoint, with more references and an awareness of how impossible it is to communicate anything unambiguously. The illogical explanations found in art become less unreliable than they appear.
The country’s position on the globe causes exaggerated fluctuations in the movements of the sun; the winter sun appears low in the sky for only a few hours, but the summer sun rises high for most of the solar day. In her exhibition in Ásmundarsafn, Sirra uses Ásmundur’s largest sculpture, the building itself, and the reflected rays of the sun, to create a massive drawing in the form of an abstract sun dial. Sirra’s new work is in dialogue with selected works of Ásmundur. It gives a nod to his ideology, to his sincere interest in technology and science, and to his sensitivity in dealing with different material, with various approaches, which can be seen in the fearlessness with which he changed his style and methods during his career.
Sirra Sigrún Sigurðardóttir graduated BA from Iceland University of the Arts in 2001, and MA in Art Practice from the School of Visual Arts in New York in 2013. She has held solo exhibitions at Reykjavík Art Museum, The Living Art Museum in Reykjavík, Hafnarborg Culture Centre, and Kling & Bang, among other locations, and participated in group exhibitions and projects around the world, including Chinese European Art Center in Xiamen, China, Amos Andersons Konstmuseum in Helsinki, Finland, and in the Tate Modern and Frieze Projects in London, England. Sirra is one of the founders of Kling & Bang in Reykjavík. She has been awarded grants and recognitions from the art funds of Dungal, Leifur Eiríksson, Svavar Guðnason, Guðmunda Andrésdóttir and Guðmunda S. Kristinsdóttir. In 2015, Sirra was among 24 international artists which Modern Painters magazine selected as worth watching in the years to come.