Prisms of the abstract: Material relations in Icelandic art

Elizabeth A Hodson

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Abstract

This article seeks to re-imagine the concept of abstraction as a material mechanism for artmaking. 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. The author draws explicitly on this proposition and proposes that abstraction affords artists a material means of transforming how they relate and re-imagine the world, offering them 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 focuses on the working practice of one Icelandic artist, through which the author suggests that abstraction can be envisaged as a prism of open connections that lead from the artist into the world.
Original languageEnglish
Pages (from-to)72-92
Number of pages21
JournalJournal of Material Culture
Volume22
Issue number1
Early online date30 Nov 2016
DOIs
Publication statusPublished - 1 Mar 2017

Keywords

  • abstraction
  • art
  • drawing
  • ethnography
  • representation

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