|2010||Dry Ice and Anti-Freeze||Ketilshúsið (listamiðstöð), Akureyri||Ísland|
|2006||Vanishing Point||The Turpentine Gallery, Reykjavík||Ísland|
|2004||Thing of The Day||Listasafn Reykjavíkur (Kjarvalsstaðir)||Ísland|
|2003||From the Edge of the Visible World||Íslensk grafík, Hafnarhúsinu, Reykjavík||Ísland|
|2003||A Space Between Shadows||St. George´s Gate, Crete||Grikkland|
|2000||Gravity Skins||Íslensk grafík, Hafnarhúsinu, Reykjavík||Ísland|
|1997||Massing Unmassing||Turnpike Gallery, Manchester||Bretland|
|1996||Earthbound||Listasafn Kópavogs (Gerðarsafn)||Ísland|
|1992||To the Surface||English Bridge Gallery, Shrewsbury||Bretland|
|2007||Hátíð trjánna, Barnaheill (fjáröflun/uppboð)||Gallery Sævars Karls, Reykjavík||Ísland|
|2006||Hátíð trjánna, Barnaheill (fjáröflun/uppboð)||Gallery Sævars Karls, Reykjavík||Ísland|
|2005||Hátíð trjánna, Barnaheill (fjáröflun/uppboð)||Gallery Sævars Karls, Reykjavík||Ísland|
|2002||Welsh Artists||Museum of Modern Art, Wales||Bretland|
|2001||All That Is Solid||London Print Studio Gallery||Bretland|
|2000||The Times of Our Lives||The Whitworth Art Gallery, Manchester||Bretland|
|1997||Christmas Show||Fulcrum Gallery, New York||Bandaríkin|
|1995||The Sea||Beatrice Royal Gallery, Southampton||Bretland|
|1994||The Royal Overseas League Annual||Andrew Grant Gallery, Edinborg||Bretland|
|1994||Paperworks V||Seagate Gallery, Dundee||Bretland|
|1993||Spectator Awards, London||Christie's, London||Bretland|
|1991||Earthscape: New Visions Towards Environmental Solutions||Pier Gallery, Hastings||Bretland|
|1991||New Contemporaries (tilnefning)||Institute of Contemporary Arts||Bretland|
|1990||Welsh Collages Degree Show Selection||National Eisteddfod of Wales||Bretland|
|1989||Young Contemporaries||The Whitworth Art Gallery||Bretland|
|1987-1990||Cardiff School of Art and Design||Bretland||BA (Hons), Myndlist (höggmyndalist) 1990; Welsh Colleges Fine Art Graduate of the Year Award, National Eisteddfod of Wales, 1990.|
|1988||The Finnish Academy of Fine Arts, Helsinki||Finnland||Skiptinemi|
|1977-1981||Gloucestershire College of Art and Design||Bretland||Diploma í landslagsarkitektúr, DipLA(Glos) 1981; BA, Landscape Studies 1980.|
|1994||Arts Council of Great Britain||Verkefnastyrkur|
|1991||Earthscape: New Visions Towards Environmental Solutions||Verðlaun|
|1990||National Eisteddfod of Wales||Ferðastyrkur|
|2010.06.26||Morgunblaðið||Arnar E. Thoroddsen||Óður til íssins||bls.40|
|2006.09.05||Morgunblaðið||Anna Joa||Áþreifanlegur hverfuleiki||bls. 41|
|2006.08.22||RÚV 1||Haukur Ingvarsson||Viðtal||Víðsjá|
|2006.08.18||Morgunblaðið||-||Innsetningar, fjallamálverk, kaffimálverk og hvínandi katlar||bls. 24|
|2006||The Dictionary of British Artists Since 1945||David Buckman||-||bls. 1020, Art Dictionaries Ltd., Bristol|
|2004||Sýningarskrá||Ragna Sigurðardóttir||Veran í deginum||Listasafn Reykjavíkur/Kjarvalsstaðir|
|2003.07.18||Athens News||Stella Sevastopoulou||Time Space||bls. 37, Show of the week|
|2003.03.29||Morgunblaðið (lesbók)||Ragna Sigurðardóttir||Tveir svartir sauðir||bls. 14|
|2003.03.18||Fréttablaðið||Gunnsteinn Bjarnarson||Málar með ryði og ís||bls. 41|
|2003.03.15||Morgunblaðið||-||Mörk hins sýnilega heims||bls. 36|
|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||bls. 27|
|2000.02.27||Morgunblaðið||Halldór B. Runólfsson||Hörund pappirsins||bls. 18|
|2000.02.05||Morgunblaðið (lesbók)||-||Slæst við klakann||bls. 2|
|1997.11.08||The Guardian||Robert Clark||Massing Unmassing||Nationwide pick of the week, (UK), The Guide, bls. 10-11|
|1997||Sýningarskrá||John Russell Taylor (The Times)||Massing Unmassing||Turnpike Gallery publication|
|1996.12.10||Morgunblaðið||Bragi Ásgeirsson||Pappírsverk/skúlptúr||bls .24|
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.
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.