Always carefully responding to the given architectural conditions and conceptual contexts, Margrét H. Blöndal’s sculptures and installations are spatial poems, woven with diverse fabrics and everyday life found materials, and narrated with a plot of a particular formal modesty and sensual generosity. Her work’s emotive materiality contributes to the space’s volume with its delicately balanced and controlled tension between lightness and weight, complemented by the collection of contrasting colors that punctuate the outline of the space, thus generating a synergy and a sense of spatial communion. Such are Blöndal’s silent identities, abstract remnants of presences, organic entities on the stage of artist’s own vernacular theatrics. Fabric’s textures, fragmented surfaces and partial objects, pieces of cloth or rubber, cables and lines are moulded and rolled, squeezed and stretched, as if wounded or mutilated, in the artist’s obsessive labor of generating a new grammar of belonging, on the crossway of the domestic, the natural and the newly born spatial configuration. Blöndal’s fragile sculptural arrangements bear a quality of nomadic, almost personified, objects, always on the move, in a search for their proper place and identity in the crowd of formal noise and randomness. A new installation, conceived for the Manifattura Tabacchi, is the artist’s spontaneous response to the spatial aesthetics of the industrial architecture’s production halls. Here, the intimacy of a subtle sculptural gesture is challenged by the uniformed interiors that complement the work with a decadent lure and melancholy. A new series of drawings and watercolors, as if pages of artist’s own diary, friezes the emotional states of a perplexed subject.

Adam Budak, curator of Principal Hope, Rovereto