Guðmundur Thoroddsen is from Reykjavik, Iceland, where he currently lives and works. His paintings, ceramics, and works on paper question our glorification of male power, and display a humorous vision of contemporary masculinity in ideological disarray. In his narrative yet sporadically drawn two-dimensional works, ambiguously ancient bearded figures compete in sports, cavort aimlessly, or while away the time in a pre-apocalyptic bacchanal of men striving to capture the dying days of male supremacy. Muted colors, delicate graphite, and chunky collage evoke Jockum Nordstrom, Carter, Marcel Dzama, and Twombly-esque scrawls. Ungainly ceramics are titled as trophies awarded for futile victories, or have names like “Double Naughty Boy” and appendages suggesting bodily parts. Well known for his previous wooden sculptures, he has used a variety of materials including ink, collage, carved and painted wood, marble, excrement, ceramic, and gold leaf, all with the longtime theme of dislodging the victorious and heroic with the profane.
After studies in Iceland, Holland, Berlin, and Granada, Thoroddsen completed his MFA at the School of Visual Arts in New York. He has been included in many solo exhibitions in Iceland, including at Tysgalleri in Reykjavik in 2015 and the ASI Art Museum in Reykjavik in 2014. Group exhibitions include the Akureyi Art Museum, (Akureyi), Quartair, (The Hague), Ausstellungsraum, (Basel), Reykjavik Art Museum, (Reykjavik), DODGE Gallery, (NY), Kling and Bang Gallery, (Reykjavik), and Danziger Gallery, (Berlin). He was nominated for the ArtPrize Top 2D Award for his SiTE:LAB show in Grand Rapids, Michigan. His 2012 solo exhibition "Fathers Fathers" at Asya Geisberg Gallery was reviewed in Time Out New York, The Brooklyn Rail, Hyperallergic, and Artforum.com. A recipient of a Fountainhead Residency in Miami, FL in 2012, and artist grants from the Ministry of Cultural Affairs, Iceland in 2012 and 2013, his work appears in the 2011 publication "Icelandic Art History from late 19th Century to Early 21st Century", as well as the 2015 Twin Magazine article "21st Century Ceramics".