Ragnar Jónasson (b. 1974 in Reykjavík, Iceland) lives and works in Glasgow, Scotland.
Throughout his career Jonasson has focused on paint as a material, expanding the medium of painting into sculptural and more experimental fields. The often colourful and psychedelic aesthetic of these experiments sometimes extends into other mediums like photography, sound and video. Jonasson also works collaboratively, most notably on the Tenderbar art project where he worked with fellow artist Danny Holcroft for nearly 4 years. Jónassons work draws inspiration from diverse sources such as surrealism, tribal art, minimalism, pop culture and spiritualism to name a few.
Solo exhibitions include: ‘The non-absence of McGuffin’ (with þór Sigurþórsson), Voidoid Archive Glasgow, Scotland (2016); ‘Utaní’, Gallery Þoka, Reykjavík Iceland (2014); ‘Amazon Megatron’, Project Rooms, Glasgow, Scotland (2013); ‘Rætur Futurepast’, Gallery Agust, Reykjavik Iceland (2011); ‘Roots’, Gallery +44141 Glasgow, Scotland (2011); ‘Luminous’ (with Tomas Lemarquis), Kling & Bang, Reykjavik Iceland (2010); ‘Neither a bird nor a fish’ (with Benny Merris), SWG3, Glasgow, Scotland, (2008).
Group exhibitions include; ‘The Grass is Always Greener On the Other Side’, Kunstmuseum Liechtenstein (2015); ‘Oscilloscope’, Old hairdressers, Glasgow, Scotland (2015); ‘Songs of Art’, Reykjanes Artmuseum, Reykjanesbæ Iceland (2013); ‘Adios 4’, Gallery Alice, Brussels, Belgium (2012); ‘Coloursynthesis’, Reykjavik Art Museum, Iceland (2010); ‘Way out is the Way out’, Embassy Gallery, Edinburgh Scotland (2009); ‘No way out, Noi at’, The Living Art museum, Reykjavik, Iceland (2007); ‘Likimain’, Jetty Barracks (Galleri Rantakasarmi), Helsinki, Finland (2006); ‘Nuevo Estoccolmo’, Luna Kulturhus, Sodertalje, Sweden (2006).
For more information visit Ragnarjonasson.art
Ragnar Jónasson, Thor Sigurthorsson
Hold the door
Two Icelandic artists, Ragnar Jónasson and Thor Sigurthorsson, collaborate on a project examining the meaning of physical and cultural borders.
Art has always commented on culture regardless of where or when it is from, and in a language that puts things in a perspective which is not merely black and white. But is art’s capacity to open the doors of perception diminishing and under threat? Jónasson and Sigurthorsson are concerned that it may be, and therefore pose the question: how do we keep that door open?
Supported by Glasgow International and Stallan-Brand Architecture + Design.
Fri 20 April – Mon 7 May
Mon – Sun, 12 noon-5pm