Appropriated from the cover of “The Japanese Miracle; the Growth of Industrial Policy 1925- 1975” a book written in the midst of the 1980s panic over Japan being projected to become the world’s biggest economy (something which never materialized). The painting points the fascination and xenophobia that underlies much of the west’s dealings with the idea of Japan and of course contains somewhat of a humorous biographical note.
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.