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Born in 1974, Reykjavik (Iceland), Katrin Fridriks is an abstract painter who explores speed, gravity and the interactions of human beings with the forces of nature.

Fridriks artistic work focuses on the exploration of natural phenomena and the limits of human dexterity. Experimenting with both techniques and the strength and agility of her own body, Fridriks continuously pushes the limits of painterly expression. She has developed a set of different techniques in connection with her explorations many of which she now combines to create works of art that are truly unique.

Her notoriety is mainly based on her paintings and painterly installations, one of which is installed at the Olympic stadium in Nîmes, but land art has also been an important element of her work. The presentation of her painterly creations often takes the form of site-specific installation that exceed the limits of painting traditionally conceived.

As they are based on the exploration of fundamental experiences, Fridriks works are immediately captivating. Having different layers that unfold over time, each new contemplation is rewarding and gives way to discoveries.

Showcased at the Venice Biennal, Kjarval Museum & the Icelandic Art Center in Reykjavik, the Circle Culture Gallery in Berlin, the Museum Arts Center in Seoul, ART13 in London as well as the Liverpool Biennale, her works are in many public and private collections. Fridriks has received commissions from POW, Michael Goss Foundation, Ralph Lauren Foundation, Bacardi Martini, Land Rover as well as the French Ministry for Youth & Sports.

“When Fridriks bends the flow of color, she gives us a feeling of control. Her forms look as if they could not be controlled. However, they have been controlled. They don‘t move. We are in charge.”

“Fridriks‘ paintings function as both traces of processes and immutable results. Their complexity is masked by their apparent simplicity. They master what cannot be mastered – or so it seems. Something which still appears to be essentially mobile, fluid, and even overflowing, is literally arrested in each of them. But this is more than formalism. By fixing mobility, the paintings accumulate energy. This energy is released each time a spectator looks at one of them. As our gaze follows the path of the paint, we reactivate the motion contained in the process of creation. The painting works as a storage device.”

(Klaus Speidel, 2013)


After 3 years artist Katrin Fridriks returns to London for her first solo show at JD Malat with her new and groundbreaking exhibition: Grey Area.

As always pushing her artistic boundaries forward, in both style and theme, with Grey Area the artist shies away from her previous exhibitions in a variety of ways while keeping her signature style and approach to her work. This show is not only about what is there to see and observe, but also what is not explicit and immediately apparent. A new style of composition, new forms of installations, a new way of interaction between the different artworks and between the artwork and the observer themselves. Installations that change arrangements and shapes, interpretations and form, and that speak to the observer as the observer moves around them – this is what awaits those attending this new solo show. And, last but not least and after many years of waiting, a new Stendhal Syndrome will make its appearance and captivate your eyes once more.

Scientist, inventor, genius, visionary, madman, censored, forgotten. These are the words one would most probably find associated with Tesla, once delving into the fascinating figure of Nikola Tesla. But for Fridirks it was his message and dream that captivated her imagination and aspired her to do this show: the possibility of free energy for all. Enter a fascinating maze of knowledge made of ancient temples, forgotten legacies, lost civilizations and a fine thread connecting them all and ultimately leading to the stars. Grey Area represents what is there to see and yet is rarely noticed. It represents, the undefined, the murky, the mysterious and yet enchanting. It challenges and defies the dichotomy of black versus white and forces the observer into a territory of shades and of all possibilities.

Accompanying the artwork will be the very special limited edition book catalogue that is in and on itself a little work of art: made in very few copies only, it has been entirely conceived and designed by the Fridriks team : graphic designer Cédric Pierre, written by Sebastian Di Giovanni, as corollary to the exhibition to intrigue both sight and touch. Bound by hand in Japanese fashion and printed in thermo-chromatic ink visible by touch only, this precious booklet will reveal its secrets to you while you immerse yourself in the exhibition’s experience.