About Jón Laxdal's artistic creation. A group of people came to found the Yellow House in 1980. As soon as Jón took part in the day-to-day running of the cultural work, he started fiddling with art, but before that he had dabbled in poetry and philosophy. Now image form moved over the poem. Úrsmiðsson and the children's school teacher met in concrete poems and the Gagn-og-gaman series. Time and the artist advance, collages on a two-dimensional surface, three-dimensional images, and then a mental world exploded that possessed a manic artist. It was glued to everything that happened; shoes, cot, chairs, lectern and fridge. Jón Proppé writes about Jón's artistic creation. 
"He came to art by detours, from philosophy and poetry, in the 1970s when modern art came to Iceland and erased all boundaries. Jón became active in that transition and was very involved in promoting new art, concepts and the like in Akureyri, where the innovations were not well received at first. Jón's models seem to have been Kurt Schwitters, Raoul Hausmann and others, although no direct references can be identified in his works. The concrete poems were Jón's way to visual presentation, and in those works it can be said that he worked his way through those approaches in an incredibly short time, and from that end, concrete poetry is a bit like op-art, clever and often inspiring, but somewhat lacking in depth and content. From concrete poems, Jón quickly began to move forward with collages on a two-dimensional surface that were either abstract, found objects, or pure typefaces. He said he was always practicing, but now in a figurative way. Jón Proppé writes about Jón's artistic creation. 
"This methodology is by no means unknown in visual art, but Jón applies it in a way that is more reminiscent of a philosopher who breaks apart a concept by testing it with countless parameters and reducing it until its essence remains. Little by little, Jón then takes more aspects of the subject into consideration. In addition to the many formal considerations, he examines texture and color and finally also the content of the texts and all references. Through long practice and reflection, Jón has gained a feeling for his subject so that his works form a continuous dialogue with his environment, contemporary times and history." Jón's collages were transferred to three-dimensional found objects and at the same time to three-dimensional sculptures that reminded many of the standing clocks of the watchmaking workshop. Most of the time with quotes from philosophy and even carefully and precisely torn down and pasted on a flat, philosophy books about people like Immanuel Kant. Around that time, he started making birdhouses and various kinds of cylinder work. And then pictures and found materials on trays with glass that stand on a table and were to become bulky in Jón's artistic creation. Jón's visual world continued to expand as the years went by and his hand became weaker, so that collages on a two-dimensional flat were replaced by composite works from found materials either on the floor or walls. The book always played a big role in the works, but often simply his immediate surroundings and daily life. These include a number of works made on wine bottles and wedges, book works of all types and composed with found objects and a series of works with crispbread and colorful plastic figures. The most amazing and insignificant things found their way into Jón's visual world, where everything had a carefully considered place and meaning. Jón worked in studios in the Old Children's School in Akureyri, Grenin in the basement of the Art Museum in Akureyri and in Freyjulund, where he also lived for the rest of his life. Jón worked in studios at the Old Children's School, in Grenin in the basement of the Art Gallery in Akureyri and in Freyjulund, which was also his home for the rest of his life.