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Margrét Jónsdóttir listmálari
Ég hef eignast þúsund nöfnur á starfsferli mínum sem auðkenna sig ekki, því varð ég að taka upp titilinn listmálari. Vinsamlegast ruglið ekki fleiri í ríminu, það er komið nóg!
"Due to her unfashionably strong artistic convictions, painter Margrét Jónsdóttir has been at odds with prevailing trends in Icelandic art for most of her creative life. In expressing those convictions she has frequently gone to the edge of the inexpressible, heedless of her reputation or the expectations of her public, imbued only with fearless integrity."
Ég vitna hér í gagnrýni Jóns B.K. Ransu um síðustu sýningu mína:
Eflaust besta einkasýningin sem Listasafn Reykanesbæjar hefur boðið upp á síðan Einar Garibaldi vígði sýningarsalinn í Duushúsi haustið 2002.
Gagnrýni Aðalsteins Ingólfssonar á einkasýningu minni í Listasafni ASÍ 2001:
Margrét hefur aldrei farið auðveldustu leiðina að myndlistarlegu markmiði sínu né hefur hún gert sér sérstakt far um að koma til móts við áhorfendur sína.
..einnig:
var einn af stofnendum Gallerí Suðurgötu 7, en eftir að það lagði upp laupana árið 1981 hefur hún verið löggiltur einfari í myndlist sinni, næstum óþægileg einlægnin sem á stundum af þeim stafa.
Listakonan getur verið svo berskjölduð í óhamingju sinni, svo opinská um hvatir sínar og væntingar, að við förum hjá okkur, næstum eins og einhver hafi sagt okkur andlátsfregn.
Linnulaus og sár spurn Margrétar er að sönnu ekki uppörvandi, en hún skiptir máli, öfugt við margt af því sem gert er í nafni myndlistarinnar í dag.
Ég vitna hér í texta Aðalsteins Ingólfssonar:
Óhætt er að segja að viðhorf Margrétar Jónsdóttur til myndlistar hafi aldrei rúmast innan ráðandi sjónarmiða í hérlendu myndlistarumhverfi; til þess er henni einfaldlega of mikið niðri fyrir. Með tjáningu þessara viðhorfa hefur hún iðulega staðið berskjölduð, fullkomlega tillitslaus og jafnframt fullkomlega heiðarleg - gagnvart sjálfri sér og áhorfendum.
Pappírsverkin sem hún sýnir hér í Reykjanesbæ eru einkennandi fyrir óvenjulegan þankagang Margrétarar, svo uppfull sem þau eru með tilvistarlegar og menningarpólitískar ígrundanir, bæði augljósar og duldar.
Í fyrstunni koma þessi verk okkur fyrir sjónir sem framlengingar á veggfóðri, þar sem ýmiss konar staðlað mynstur kallast á. Þetta eru verk án upphafs, miðbiks og endis, mettuð heitum litum sem stundum eru svo stríðir að verkjar í augun. Þess á milli eru innviðir þeirra svo daufir og hlutlausir að útlínur fjara út og mynstrið leysist upp í frumeiningar sínar.
Hér eigum við raunar kollgátuna; mynstrin í þessum myndum eru gerð eftir frönskum veggfóðurstenslum. Með notkun þeirra vill Margrét minna á skilin milli alvarlegrar frumsköpunar, myndlistarinnar sem leiðir til dýpra skilnings á manninum og veröldinni, og andlausrar myndframleiðslunnar sem stjórnast af markaðslögmálum hverju sinni.
Um leið og hún byggir verk sín á myndframleiðslu, stöðluðum mynstrum veggfóðursins, grefur hún undan þessari framleiðslu með því að rekja mynstrin aftur til uppruna síns í árdaga, til trjágreina, laufa og skrautblóma í náttúrunni, þar sem þau eru undirorpin eyðingu, öðru nafni tímanum. Í þessum myndum stöndum við frammi fyrir stöðugri og eðlilegri upplausn sköpunarverksins. Mynstrin, staðgenglar náttúrunnar, gliðna ýmist innan frá eða þau láta undan síga fyrir utanaðkomandi eyðingaröflum, uns eftir standa lófastórir skikar hér og þar eins og minnisvarðar horfinna sælureita. Eftirsjá; hún er hér einnig fyrir hendi.
Þessar andstæður náttúru og eyðingarafla fela í sér hugleiðingar um önnur andhverf fyrirbæri. Í látleysi sínu er franska veggfóðurmynstrið ímynd hins menningarlega, lyktir á löngu þróunarferli formanna í tilteknu menningarsamfélagi. Gegn þessari stöðluðu ímynd fornrar menningar teflir Margrét sískapandi og síeyðandi náttúrunni; kannski harðgerðri náttúrunni sem Suðurnesjamenn búa við. Þar með upphefur hún ekki annað á kostnað hins, heldur áréttar mikilvægi samræmdrar veraldarsýnar
Patterns of Nature
Adalsteinn Ingolfsson
Due to her unfashionably strong artistic convictions, painter Margrét Jónsdóttir has been at odds with prevailing trends in Icelandic art for most of her creative life. In expressing those convictions she has frequently gone to the edge of the inexpressible, heedless of her reputation or the expectations of her public, imbued only with fearless integrity.
The works on paper that she is exhibiting here in Reykjanesbær exemplify her unusual, often wayward, way of thinking, teeming as they are with references to existential and cultural matters.
At first glance these works seem to be straightforward extensions of ordinary wallpaper patterns, full of stylized versions of branches, leaves and flowers.
They seem to have no obvious beginning, centre or end, and are painted with hot and strident colours that make our eyes ache. Others painted with dark and dull colours that obliterate the outlines of the patterns or dissolve them entirely.
We guessed right; the patterns in these works are mostly created using French wallpaper stencils. By using them the artist wants to remind us of the essential difference between serious creative work, leading to art capable of deepening our understanding of man and the world, and the ubiquitous and soulless manufacture of visual imagery geared only to market forces.
While constructing her work out of the latter, the artist is actively undermining it by transferring, as it were, the oft-repeated patterns back to their origins in the natural world, where they are at the mercy of natural selection and destruction, in other words, the ravages of time. The paintings feature the steady and inexorable erosion and rebirth of nature. The stylized patterns, nature´s substitutes, either disintegrate from within or fall prey to outside forces of destruction. In the end only a handful of areas remain unscathed, like memorials to long gone beauty spots. Regret is clearly one of the ingredients of these works.
The featured contrasts between nature and the destructive forces at its heart may also be seen as references to other supposedly antithetic elements. In spite of their humble look, the French wallpaper patterns used by the artist are clearly cultural constructs, representatives of a particular decorative tradition. Against these cultural constructs the artist pits elements of raw nature, perhaps the unforgiving nature of the harsh Suðurnes peninsula where she lives. In doing so she is not expressing a preference of one over the other, but emphasizing the importance of a balanced world view.
http://en.wikipedia.org/wiki/Central_Saint_Martins_College_of_Art_and_Design
Central Saint Martins College of Art and Design (also called Central Saint Martins, Saint Martins or simply known as CSM amongst students and staff) is one of the leading colleges of art and design in England. It is part of the University of the Arts London along with Chelsea College of Art & Design, London College of Communication (LCC, previously London College of Printing), London College of Fashion (LCF), Wimbledon College of Art and Camberwell College of Arts. It was given university status in 2004 (prior to this the cumulation of the 5 colleges excluding Wimbledon was known as "The London Institute"). Wimbledon became part of the University in 2006.
Central Saint Martins was created in 1989 from the joining of Central School of Art & Design (founded in 1896) and St Martin's School of Art (founded in 1854). For most of the 1960s and 1970s Saint Martins was acknowledged as the leading London art school, producing the likes of Gilbert and George (who met there) and Richard Long as well as employing influential artists such as Anthony Caro and Barry Flanagan as staff, and was a meeting point for many Punk and New Wave bands. Indeed, the school was immortalized in Pulp's song "Common People", as the place where the woman who caught Jarvis Cocker's eye (along with Jarvis himself) studied. It was also the site of The Sex Pistols' notorious first ever "gig" (notorious because some say they were actually thrown out after 5 minutes). On 6 November 2005, the college received a Blue plaque commemorating this event's 30th anniversary.
Central Saint Martins remains one of London's most revered art institutions with strong research and teaching departments in Fine Art, Fashion, Graphics, 3D design and Performance. It has undergone a cascade of recent developments, having already swallowed up both Drama Centre London in 1999 and the Byam Shaw School of Art in 2003 prior to the University of the Arts London's conception. Central Saint Martins has an internationally recognised research profile as rated in the recent government Research Assessment Exercise; it forms links between the arts, communication, fashion and design with a range of other disciplines leading to research and enterprise projects through its Innovation Centre; it employs graduates on international design consultancy projects through the Design Laboratory; it is one of the world's largest providers of art and design short-course training; and it has registered museum status for its contemporary and museum collections.
