The Infinite Day / Endalaus dagurinn, 2005.
Wall painting, household paint; dimensions variable. Courtesy of the Estate of Birgir Andrésson and i8 Gallery Reykjavík
Birgir Andrésson primarily explores color as the formal language of Icelandic culture, its landscape and art history. These exercises in color are earnest, futile, and superfluous; the artist’s palette is “real” insofar as any trait can be considered inherent in a culture. They are a sort of derivative translation or extraction, illustrating Andrésson’s perceptions of his home country and personal upbringing.
Some paintings resemble paint color samples, suggesting that these paintings are s subset of larger series and palettes, and directly referencing Andrésson’s larger practice. Within his painting practice, Andrésson may address specific elements of the Icelandic environment or culture.
Sequences VIII presented a wall painting of Andrésson’s work The Infinite Day (2005) by the Reykjavík harbor. This work points to the Icelandic sky at a particular moment in the calendar year when daylight takes on an infinite quality, stretching beyond the 24-hour cycle of a day. In this work, time and color are conflated, suggesting that both concepts are dependent on the viewer’s perception and evocative of individual experiences of daylight and infinity.