Solo exhibitions

Year Exhibition title Venue Country
2019 Time Frozen - Time Thawed Gallerí Grótta, Reykjavík Iceland
2010 Dry Ice and Anti-Freeze Centre for the Visual Arts, Akureyri (Ketilshúsið) Iceland
2007 Schiehallion StartArt, Reykjavík Iceland
2006 Vanishing Point The Turpentine Gallery, Reykjavík Iceland
2004 Thing of A Day Reykjavík Art Museum, (Kjarvalsstaðir) Iceland
2003 From the Edge of the Visible World Ass. of Icelandic Printmakers, Reykjavík Iceland
2003 A Space Between Shadows St. George's Gate, Heraklion, Crete Greece
2000 Gravity Skins Ass. of Icelandic Printmakers, Reykjavík Iceland
1997 Massing Unmassing Turnpike Gallery, Manchester United Kingdom
1996 Going to Ground Art Museum of Kopavogur, (Gerðarsafn) Iceland
1992 To the Surface English Bridge Gallery, Shrewsbury United Kingdom
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Group Exhibitions

Year Exhibition title Venue Country
2019 Codex International Artists´ Book Fair (with Biblotek Nordica) San Fransisco USA
2019 Artists' Book Biennale (Biblotek Nordica) Arnolfini, Bristol United Kingdom
2018 Bergen Art Book Fair (Biblotek Nordica) Bergen Norway
2013 Höstsalongen Edsvik Konsthall Sweden
2007 Festival of Trees, Save the Children Christmas show and Auction Gallery Sævar Karl, Reykjavík Iceland
2006 Festival of Trees, Save the Children Christmas show and Auction Gallery Sævar Karl, Reykjavík Iceland
2005 Festival of Trees, Save the Children Christmas show and Auction Gallery Sævar Karl, Reykjavík Iceland
2002 Welsh Artists Programme Museum of Modern Art, Wales United Kingdom
2001 All That Is Solid London Print Studio Gallery United Kingdom
2000 The Times of Our Lives: Beginnings The Whitworth Art Gallery, Manchester United Kingdom
1997 Christmas Show Fulcrum Gallery, New York USA
1995 The Sea Beatrice Royal Gallery, Southampton United Kingdom
1994 The Royal Overseas League Annual, Edinburgh London and Edinburgh United Kingdom
1994 Paperworks V Gallery Seagate, Dundee United Kingdom
1993 Spectator Awards, London Christie's, London United Kingdom
1991 Earthscape: New Visions Towards Environmental Solutions Pier Gallery, Hastings United Kingdom
1991 New Contemporaries (shortlisted) Institute of Contemporary Arts, London United Kingdom
1990 Welsh Colleges Degree Show Selection National Eisteddfod of Wales United Kingdom
1989 Young Contemporaries The Whitworth Art Gallery, Manchester United Kingdom


Year School Country Info
1987-1990 Cardiff School of Art and Design United Kingdom BA (Hons), Fine Art (Sculpture) 1990; Welsh Colleges Fine Art Graduate of the Year Award, National Eisteddfod of Wales, 1990.
1988 The Finnish Academy of Fine Arts, Helsinki Finland Exchange programme.
1977-1981 Gloucestershire College of Art and Design United Kingdom Diploma in Landscape Architecture, DipLA(Glos) 1981; BA, Landscape Studies 1980.


  • SÍM, The Association of Icelandic Visual Artisits.
  • The Landscape Institute, (United Kingdom).

  • Articles / Reviews

    Date Publication Contributor Title References
    2010.06.26 Morgunblaðið Arnar Eggert Thoroddsen Ode to the Ice p.40, preview
    2010.06.22 RÚV 1 / Icelandic Broadcasting Company - Interview Midday News
    2007.11.08 Morgunblaðið Ragna Sigurðardóttir Images from Nature -
    2006.09.05 Morgunblaðið Anna Jóa Tangible Absence p.41
    2006.08.22 Icelandic Broadcasting Company Haukur Ingvarsson Interview Víðsjá
    2006.08.18 Morgunblaðið - Mountainworks, Coffee Paintings and Whistling Kettles p.24, Reykjavik Culture Night exhibition openings
    2006 The Dictionary of British Artists Since 1945 David Buckman - p.1020, Art Dictionaries Ltd., Bristol
    2004 Essay to exhibition pamphlet Ragna Sigurðardóttir Thing of a Day Reykjavik Art Museum publication
    2003.07.18 Athens News Stella Sevastopoulou Time Space p.37, Show of the week, preview
    2003.03.29 Morgunblaðið (Culture Supplement) Ragna Sigurðardóttir Two Black Sheep p.14, review
    2003.03.18 Fréttablaðið Guðsteinn Bjarnarson Rust Paintings p.41, preview
    2003.03.15 Morgunblaðið - The Edge of The Visible World p.36, preview
    2002 Art Review (Print Supplement) Charlotte Edwards Thinking out of the Box Annual Print Review
    2000.11.18 The Times Rachel Campbell-Johnston RCJ's Best Five Exhibitions Nationwide Preview
    2000 Art Review - The Times of Our Lives: Beginnings p.27, preview
    2000.02.27 Morgunblaðið Halldór Björn Runólfsson The Skin of the Paper p.18, review
    2000.02.05 Morgunblaðið (Culture Supplement) - Battling with Icebergs p.2, preview
    1997.11.08 The Guardian Robert Clark Massing Unmassing Nationwide pick of the week, (UK), The Guide, p.10-11
    1997 Exhibition pamphlet John Russell Taylor (The Times) Massing Unmassing Turnpike Gallery publication
    1996.12.10 Morgunblaðið Bragi Ásgeirsson Paperworks/Sculpture p.24, review



    Anna Jóa, Morgunblaðið, September 5th 2006. 
    Translation from the Icelandic original.

    Macintyre creates a strong sense of time in connection with the genesis of each image.  We see this in the work ‘‘Double Exposure“, which appears still to be the process of happening, suggesting a living material rather like lichen on a stone.  There are clear refrences to nature, with a strong sense of geology and the cartographic process.  The ongoing geological shift of a young land such as ours has a resonance in Macintyre´s work – not least the choreography of plate tectonics, and the motion of the glaciers.  Macintyre effortlessly communicates this energy and transformation using the barest of materials, imbuing the work with a mood of elemental conflict and tension

    In the innermost small room, is a series of works in which symbols and cyphers appear, taken from the process of mapping the land, a reminder of man´s own relationship with the natural world.  The symbols, though, are particularly rusty and seem ancient.  They too appear to be unravellling, like another signature of man´s presence, the fingerprint, which forms the basis of a work in an adjacent room.  The piece is suggestive of our transient existence on the earth and our need, like the makers of the famous cave-paintings, to make our mark on it – for better or for worse.








    Ice, iron and paper are the materials of British artist Alistair Macintyre in his show ‘‘Vanishing Point“ at Reykavik´s Turpentine Gallery. The title of the show refers to the point of intersection, or vanishing point, of perspective lines – but could also refer to something which shrinks down to nothing.  That, in fact, is exactly the method Macintyre uses, combining iron and ice and allowing them to self-destruct onto heavy paper, forcing them to undergo a material metamorphosis.

    The works in the exhibition are the fruit of a process that embraces chance event within the framework of the artist’s intentions.  The result in most cases is abstract.  The iron comes to rest and forms a broad range of configurations caught in the ridge and furrow of the buckling paper surface.  A good example is the eye-catching piece, ‘‘Grid Reference II‘‘, where concentrations of iron appear to float in a diamond composition.  A white underlayer – the paper – shines through and delineates clearly defined forms that trick the eye, appearing to jump out into the foreground, lending an extra dimension to the work.

    The piece ‘‘An Absence of Field“, exhibits a similar sense of tension.  The iron appears to stand out from the ice traces, the meltwater setting up an illusional three dimensional experience, with converging lines that disappear into a void. The paper, or empty space, which is in fact the background, pushes forward as a series of levitating white forms, poised in opposition to the perspective, deliberately unravelling the illusion.



    Halldór B.Runólfsson, Morgunblaðið, 27th February, 2000
    Translation from the Icelandic original

    In the inner room Macintyre has floated blue oil colour onto the meltwater. With the passage of time the paint descends onto the paper and stains it. As the oil soaks in, flecks of bright colour attach themselves onto the surface as brilliant swathes of pigment. Here is something undeniably reminiscent of the late Yves Klein, forming thick and matt over the paper surface, mingling with the rust. Some of these giant works appear, en masse, as shields, such as the aptly named ‘‘Aegis‘‘, the name of the protective cloak/shield of Pallas Athene. Other works have collected meltwater like raindrops, sending out interconnecting rivulets from the centre. Providing counterpoint to the shield pieces, these cataclysmic works remind one of the Medusa head.

    The power and explosiveness of Alistair Macintyre´s graphic works are, to put it mildly, stunning. The size of the works, which can reach two metres, only reinforces the experience. The artist manages to bring something of the untamable force of nature directly to his work, but however much or little he seems to control events himself, his influence and sensitivity to the process are pivotal from start to finish. Even though ice and iron appear to be the main players, he remains very much the driving force behind behind this remarkable show.

    Alistair Macintyre lends the title ‘‘Gravity Skins‘‘ to his exhibition of large graphic works, won from ice and iron. He covers the paper with iron-laden ice, and little by little rusting ferrous matter and ice fuse with the paper. The volatile fallout remains on the paper surface as traces of rust in all its possible nuances.

    Macintyre, , who has stayed here for long periods at a time, says he has used ice for several years, because of its inherent ability to change spontaneously from three-dimensional mass into surface-bound liquid. The self-consuming power of the ice, in conjunction with the iron, which gradually reduces down into a loose sediment of rust, becomes a reflection of the natural forces at work all around us. Slowly but surely time and change do their work. The paper becomes a kind of testimony to the evolving process, a self-written chronicle of a transformational event.

    At the same time the work becomes emblematic of how all mass strives, ultimately, for a state of flatness. As the artist points out, the paper begins to assume the role of horizon, where the world at large becomes compressed onto a distant, flattened surface, like a great spontaneous drawing