These small-scale paintings share a pictorial starting point based on covers of anarchist and communist pamphlets from the 1930s -1970s. The text-based information from the original book cover is no longer visible, leaving only the graphic design backgrounds.

The connection to the original book or pamphlet is made present in each of the painting's titles. However, each painting seems disconnected from its origin. The combination of the domestic scale of the paintings and their simulacra geometry raises questions about the possibility (or impossibility) of communicating ideas and political content through painting as well as the ultimate fate of avant-garde ambitions. 

Gardar Eide Einarsson works with found and appropriated source materials in order to think about the images that surround us and the work they do to interpellate us. 

Ideas around personal liberty, belonging, inclusion/ exclusion and propaganda are explored with a view to what role culture plays in ideological systems and how artists and art institutions both are implicated in the dominant structures while at the same time perhaps offering a way around and outside them. How do we as individuals navigate the course between our own personal freedom and our inscription in the symbolic structure of the societies we exist within?

He addresses this subject matter through diverse media such as installations, paintings, sculptures etc. in a deadpan and often humorous way and with an awareness of the institutional context of contemporary art.