In the 1950s and 60s, Hörður Ágústsson held many exhibitions of paintings and drawings in a strict geometric style, and lyrical impressions in the spirit of lyrical abstract art. In these methods the scholarly perspective in Hörður the artist is crystallised: the desire to fully explore the limits of two different but interconnected theories.
In light of an exhibition held by Hörður in the Nordic House in Reykjavík in 1975, when he showed a series with religious overtones (Series on a Son of Man), as well as his declared interest in the works of spiritually-minded artist Barnett Newman, the conclusion can be drawn that in the adhesive-tape pieces displayed in 1976 are neither purely geometric nor Op Art, but rather existential reflections on that which “can neither be seen nor touched” – the divine.
The piece in question, Untitled, is especially conducive to such an interpretation. Firstly it is a triptych – a piece comprising three parts, reflecting the Holy Trinity. Secondly, dominating the middle section is the colour purple, the holiest of colours, reserved for the most elevated ecclesiastical leaders. Thirdly, the number of vertical units in each part of the picture corresponds to symbolic meanings attached certain numbers in both Judaism and Christianity. Finally, the colour palette in the outer two panels is on the one hand hot, and the other cold. Many people see the vertical form apparent throughout all three parts as signifying the erect human figure.