The human body is a continuous motif in the work by Einarsson as the site where repression becomes a lived reality and is represented in a series of five new paintings with the collective title 'Common Errors'. These paintings, based on illustrations of common errors when firing handguns from a police and military training manual in the 1960s, have been penetrated where the bullets would have entered the target, recalling the real physical violence of the bullet as well as the pierced paintings of postwar-artist Lucio Fontana. 

Gardar Eide Einarssons works are direct and uncompromising in their interpretation of the social dichotomies of society. Einarsson presents a series of new works which raise questions about how individuals relate to state control, sometimes desiring it, sometimes resisting it, sometimes falling victim to it.