Prisms of the abstract: Material relations in Icelandic art

Abstract

Material Relations in Icelandic Art This article seeks to re-imagine the concept of abstraction as a material mechanism for art-making. Abstraction is traditionally divorced from the discipline of anthropology, which is rooted in social context and descriptive particulars. Within this debate abstraction, as a mental capacity, is contrasted with contextual understanding, and entails a removal from the life of the people studied. But for the artist this conclusion may be premature and abstraction is more accurately regarded as a constitutive function of art-making. This article draws explicitly on this proposition and proposes that abstraction affords the artist a material means of transforming how they relate and re-imagine the world and offering the artist a means of separating the properties of things from the things themselves. Integral to these affordances is abstraction as an art historical construct. Thus abstraction is not the erasure of context, whether conceptual or material, but its imbrication. To illuminate this proposition this article will focus on the working practice of one Icelandic artist, through which I suggest that abstraction can be envisaged as a prism of open connections that lead from the artist into the world.