Acrylic on canvas
Dimensions: 81cm (H) x 81cm (W) / 31.9" (H) x 31.9" (W)
Note: Actual colours may vary due to photography & computer settings.
Two women, Booze, Lemon, Pills and Phone is inspired by a story which occurs to the artist: “Two women enjoyed a dream of wearing blue burkas at their wedding. The wedding was to be open to the public, take place in a grand cathedral and afterwards they were going to serve homemade hummus. But their relationship took a fast spiral into a nightmare and they broke up.” The painting shows their noses touching, body pressing, so close as if become one two-women sculpture carved from a stone. However the difference of their skin color and eye color: one deep, the other light, one red, the other black, implies the intensity between them in addition to intimacy. As if the painting translation of Henri Cartier-Bresson’s decisive moment, the artist embodies the controversial, provocative social issues such as burka wearing, same sex marriage, religion, secularization and the vulnerability of nowadays family, marriage and relationship into the sole captured moment. Outside the picture are the endless springs of imagination left for viewers to embed in their own life experiences and develop their own story. By canceling the perspective, Adalsteinsdottir echoes the rebellion of content with the rebellion of form in the picture, subtly conveys the unbearable lightness of contemporary existence.
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Based in: New York
Thordis Adalsteinsdottir was born in Reykjavik, Iceland, receiving a BFA from the Icelandic Academy of Arts In 1999 and a MFA from the School of Visual Arts, NY in 2003.
The paintings of Thordis Adalsteinsdottir present emotionally charged moments in a weightless manner. Her personable narratives are often hilariously sinister and casually violent.Influences range from Egon Schiele to Elizabeth Peyton, geometric abstraction, Op art, minimalism, expressionism, and outsider art. Adalsteinsdottir paints in an ultra flat manner with carefully nursed details, interrupted by repetitive freehand patterns and unexpected pops of eccentric textures. Even though her paintings achieve extremely cohesive rhythms in composition, Adalsteinsdottir does not work from sketches, and this raw spontaneity clashes wonderfully with the refinement of her controlled execution.
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