Op.3

by Ýr Jóhannsdóttir Iceland

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Estimated production time: 4 weeks

Dimension LxWxH (cm): 150x140x-18
Material : Icelandic wool, Mixed yarn
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Description

“Op.3” is part of the collection “I would not do something like that” made by Ýrúrarí in 2019. The collection consisted of traditional sweaters dismantled from their original pattern and form.

“Op.3” was originally a traditional Lopapeysa (Icelandic wool sweater), but has now taken on a new more open and abstract form. The holes are knitted in various colors, opening up the closed knitted sweater, allowing the sheep colored wool to curl down free.

The sweater is all knitted by hand.

Additional information

Weight 1.2 kg
Dimensions 30 × 30 × 14 cm
Dimensions LxWxH (cm)

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About the designer


Ýr Jóhannsdóttir

The artist name Ýrúrarí was created in 2012 by Ýr Jóhannsdóttir.The work of Ýrúrarí is mostly done by knitting and working with the possibilities of new visual elements knit can create in spaces and on the human body in a way of illustrating the everyday three dimensional space. Ýr’s creations are on the wide spectrum from hand knitting figurative fun pieces on old jumpers to machine knitting abstract and complex mathematical textiles, working with the technique of weaving, OP art and making dimensions meet on the surface of knitted fabric.

Curated by

The body of work in this collection consists of pieces by Greek designers of the mainland and the diaspora, or international professionals who live and work in Greece. As a common theme we tackle the elusive notion of “Greekness” and how this transpires through the work of seemingly diverse and distinct individuals. In our attempt to define “Greekness”, we aim to raise questions about how this plays out in the work presented. How do Greek designers view their identity? Is it through their effort to decipher their heavy heritage? Is form important in order to achieve a predisposed classic elegance, or is a philosophical disposition towards shape more poignant? Could it be simply a resourcefulness and DIY ethic to make up for the absence of design infrastructure? How do Greek designers based abroad deal with their background? Could it be that they simply ignore it in order to finally free themselves? Is there a certain amount of innovation necessary in order to channel it into the new environment? Finally, how do foreign designers see their work influenced by their Greek surroundings? Is it the reference through the use of noble materials such as marble or the abundance of natural light that makes their work unquestionably Greek? Or could it be something else they were seeking when they decided to move here, something abstract like humour or drama? Could their arrival finally mean a departure from Greek heritage’s self-reference? The pieces that we present might seem ill-matched, but they share an important core element. They are confident in their narrative of a personal story of identity, that is either at peace or against the Greek archetype. Through this communication, they all describe a culturally mature and vibrant scene that is finally extroverted and coming of age.