The new exhibition by visual artist Hanni Bjartalíð in Steinprent, Skálatrøð 16 in Tórshavn runs untill 5.may 2018.
In this exhibition, the artist, who was born in 1968 in Klaksvík Faroe Islands, unfolds new aspects of his art, but is at the same time quoting characteristics from old pieces in his growing body of work. Hanni Bjartalíð is an extremely meticulous artist, he is always working. His method seems playful and sensuous, driven by intuition and continuous material research, an approach that echoes global, contemporary art, which clearly emphasizes the artistic process.
With Hanni Bjartalíð material research in itself becomes such an extensive and open part of the expression, that is reminiscent of a form of deconstruction. The artist examines and deconstructs the artistic ideas in his pieces and presents them within the pieces themselves. Hanni Bjartalíð started out as a painter and I think there is a clear painterly feeling in all the surfaces in his sculptures and carved out pictures. Recycling is a defining characteristic of Hann Bjartalíð´s artistic process. No matter what he is doing, he will use up all the material, including any scrap paper or leftover wood. Hanni Bjartalíð has been working on wooden objects for about twelve years. These wooden sculptures are made from recycled material, little pieces of wooden chairs, bread boards, blinds and rubbish. His procedure is always cumulative and aims to bring myriad image elements together into a whole, which appears raw, poetic and highly unique.
The works by Hanni Bjartalíð are partly inspired by childhood memories. Some of them look a bit like the huts we would build when we were little, while they also appear enigmatic and characterized by philosophical gravitas in their non-functional quietness. Hanni Bjartalíð once explained to me how he liked being by the seaside as a child. One reason was alle the fascinating objects that would drift ashore, each with a plausible exiting story.
Boxes and their capacities have always fascinated Hanni Bjartalíð. As a boy he was given a sewing box with lots of tiny compartments, and he was very fond of it. This spatial interest in compartments and compartmentalization is evident in all of Hanni Bjartalíðs work also in the current exhibition. Some of the works seem to be compartments with bottles and even though the works are relatively small, the bottles seem monumental and oversized whereby the works get a sort of surrealistic touch. Other works are reminiscent of ritualistic objects with primitive yet figures and forms. One sculpture is tall, slender and colourful like a totem pole but with references to industrial architecture both in different forms and painted on the surface. Photograps cannot capture this exhibition, these works must be seen in Steinprent.