Gudmundur Erró " Red Sonja" hommage à Fernand Leger
1997
Collage on paper
Signed and dated
12.6 x 7.09 in ( 32 x 18 cm )

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Inquiry - " Red Sonja" hommage à Fernand Leger, 1997

  Errò through this work pays homage to Fernand Léger. He uses as his main and central element, Red Sonja, aka "She-Devil with a Sword", a fictional character from the Marvel comics. It therefore includes this comic book character, who represents the archetype of the barbarian woman, beautiful and fierce, mixing her with an essential figure of modern art. It is, according to the artist, "a way to try to discover the meaning of a confused world".

Each collage of Errò is a preparatory work.

Gudmundur Gudmundsson is a painter borned in 1932 in Olafsvik (Iceland)

Between 1942 and 1949 he began to paint mainly landscapes, influenced by the work of the Icelandic painter Johannes S. Kjarval.

In 1950-1952, at the school of Fine Arts, he turned to the sector which prepare for teaching and experimented various kinds and techniques, including collage (cut paper)

In 1954, Erro joined the Academy of Fine Arts in Florence and in 1955, he studied Byzantine mosaics in the Ravenna Mosaic School.

During this period, Erro travelled to Spain, Italy, France and Germany.

In 1956 he moved to France where he produced his first collages with ELLE magazine.

 Already introduced in Dadaism during his meeting with Jean-Jacques Lebel, he met with various personalities linked to the Surrealist movement in Paris in 1959.

In 1964, In New York, his painting renounces the creation of personal forms and now relies solely on photographic references (generalization of painted collage)

In 1981,  took place his first exhibition exclusively with collages in the gallery Le Dessin in Paris.

In 1987 he was one of the stars of the "International Festival of Comics in Sierre (Switzerland) and exhibit in Geneva at the Sonia Zannettacie Gallery and in Paris at  Galerie Montenay.

Since 2000, he continues to be exposed worldwide, being regarded as a contemporary artist of narrative figuration.

Attracted by the images of different kinds, Erro tries to keep everything he can find through the comics, comics, alternative press, advertising, illustration drawings and other marginal publications.

In fact, he uses image resource to design a world of small humorous sketches, ironic or activists that he seeks to recreate in his paintings and where everything telescope in an explosive formal and chromatic jubilation.