When Icelandic artist Sigurdur Gudmundsson settled in the Netherlands in 1970, his focus was primarily on “staged photography”: constructed images in which he himself played a role, often in absurd or ironic-melancholic situations. The museum also holds several pieces of this nature in its collection. “The Great Poem” from 1981 marks Gudmundsson’s shift from photography to sculpture. Three grey concrete pyramid forms stand on a steel base, with a swan’s neck and head emerging from them – as if the swans are about to break free from the pyramid, a symbol of rational thought. Poetic passion and a romantic sensibility are hallmarks of Gudmundsson’s entire body of work, setting him apart from his fellow artists, from his Fluxus period in the 1960s to present day. The artist’s origins, with the Icelandic landscape and atmosphere of folktales and legends, play a significant role. “I am deeply attached to the transformation of emotion into material. A good work of art is a fingerprint of the soul.”
I personally have a weak spot for the works by Gudmundsson and have been following his career since the early 90’s. In that period i acquired an impressive multiple / Stella Maris which is still , since i have bought it, on display in my office. On my new location it is now presented together with a bronze tulip by Guido Geelen and an even impressive ” nude/ back ” by OSSIP.
www. ftn-books.com has a a nice selection of Gudmundsson publications including the much sought after “CIRCLES”
