Deceptively simple, the line conforms an imagery that timelessly conveys, carries forward and replicates the cultural patterns constitutive of a nation.
Kristinn, the author of this work, could easily have been a 13th century man of letters or, just as equally, a 21st century street artist. The line joints them all in one: the Icelander.
The line in more formalized patterns conveys prestige today as always, but here you see it exploring freer, more creative routes too.
An epitaph plaque of 1688.
The Valþjófsstaður door, ca. 1200, beleived to have been carved in Iceland, shows a characteristically romanesque style carving with complex interlaced loops.
A late 17th century copy of 'Landnámabók' (The Book of Land Takings).
Lines on paper, flowing somewhere between the formalized, more static, and the more fluid, 'unilinear' scripts
Truly unilinear! The plastic artist and the humanist, at their best, leaving their little noticed masterpiece on the lid of a waste bin.
They continue to love the line, nowadays in more colourfull fashion…
All media and all canvases are appropriate to today's 'liners'. This work goes nearly on the verge of landscape art.
La línea es también subversiva, y ahí reside parte de su poder.
Transformativa. Siempre presente. Siempre lista para surgir de nuevo.
Imagination is free, but the author of this gem displays here technical mastery, total domain of their tools and materials, a great deal of experience and tons of passion for their skill/art.
For at least two are necessary to actually CREATE the aesthetic impression: the skilled practitioner and the predisposed and/or skilled viewer (or, as here, photographer).
The Book of Heynes, a late 15th century manuscript version of the important Icelandic law book Jónsbók.
One of Bjarni H. Þórarinsson's 'Wise Roses', "vision trees that in the hundreds form special and very Nordic worlds", created as an attempt to "rebuild an ancient view of the world where words, drawings and symbols collectivelly make a whole" (excepts from the catalog of the Points of View exhibition, p. 55).
The subversive quality of graffiti as a focal point intentionally or inadvertedly enhancing comercial publicity.
Photo taken on September 30, 2016.
¿No es nuestra tarea como humanos estar coleccionando grandes momentos?
I could not track this one... Perfect excuse for visiting again😃! (And I tell you: on the thirtieth of September of 2016 I spent FOUR hours and FOURTY minutes in the Culture House😵😳!).
Benedikt Gröndal Sveinbjarnarson (1826-1907) era, entre otras cosas, un calígrafo consumado
Only one-in-a-thousand pretty example of the very fine instinct of integration of the line (colour, shape, vibrancy, location...) in the contextual surrondings developed by graffiters.
There is the aesthetic bliss of the pristine, sparsely and judiciously applied line, but there is, too, the expressive power of the line saturating the space in a dramatic burst.
One of the several manuscript versions of Iceland's longstanding legal statute book, 'Jónsbók' exhibited in the Culture House (ca. 1600, author/artist(s) unknown).
Detail of a text presented by Benedikt Gröndal Sveinbjarnarson to the traditional Icelandic legislative assembly, the Alþing, in application for a grant for a project.
Repetitive, timeless patterns appear again and again; the reminiscence of Benedikt Gröndal Sveinbjarnarson’s (1826-1907) calligraphic creations can be thought of as mere coincidence, but the line of culture, joining us all together throughout time and space, runs very deeply in our minds.
The ever convolluted and interlaced lines of the Nordic cultures, reappearing again and again throughout the millennia.
Perfect blend of stability and dynamism
Some outlines are as old as humanity itself, their trace going back thousands of years, while remaining today just as powerful.
I have no idea of what this depiction represents. But if you tell me it was a 15000 years old petroglyph, I would unhesitantly take your word for it.
How elese can I praise...?
Una de tantas obras de «caligrafía de cubo de basura».
For some reason (perhaps for its amalgamating quality, and the deliberate use of a phisical feature in the wall itself as a focal point that enhances expresivity), this whole-wall graffity reminds me of the fantastic prehistoric murals of the Chauvet cave in southern France.