|2010||Dry Ice and Anti-Freeze||Centre for the Visual Arts, Akureyri (Ketilshúsið)||Iceland|
|2006||Vanishing Point||The turpentine Gallery, Reykjavík||Iceland|
|2004||Thing of The 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||Earthbound||Art Museum of Kopavogur, (Gerðasafn)||Iceland|
|1992||To the Surface||English Bridge Gallery, Shrewsbury||United Kingdom|
|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|
|1987-1990||Cardiff School of Art and Design||Bretland||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.|
Grants and awards
|1994||Arts Council of Great Britain||Development grant|
|1991||Earthscape: New Visions Towards Environmental Solutions||Competition|
|1990||National Eisteddfod of Wales||Travel grant|
Articles / Reviews
|2010.06.26||Morgunblaðið||Arnar Eggert Thoroddsen||Óður til íssins / 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||Málar með ryði og ís / 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 withinthe 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.
THE SKIN OF THE PAPER
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