STARA - 01.09.2014, Blaðsíða 15

Is this the first time you do a residency?
No, I have done other residencies in the US at
the Penland School of Crafts in Penland, NC
and here in Iceland at Nes in Skagaströnd.
Why Iceland?
I have been interested in coming to Iceland
for a very long time. The openness of the en-
vironment allows my mind a freedom it does
not have anywhere else and I often find my-
self at a loss for words when I try to describe
it to others … much of what I have seen is so
unusual, so beautiful and so unlike anything
I have ever seen before that I simply do not
know the words to describe it.
What are you working on at the
SÍM residency?
I am working on ideas … I’m reading and re-
searching contemporary artists and various
art movements to discover more about myself
and the work that I make. I am also thinking
and writing. I take a walk almost everyday just
to think and observe and I take photos as I go.
Finally, I am spending time closely examining
my photographs and short videos, giving them
more attention than I have in the past. I think
something interesting is happening with them
and I am trying to pay attention.
Do you feel that the residency and/or Iceland
is affecting your work?
I feel that the residency and Iceland are af-
fecting my work in a positive manner. The
SÍM and the surrounding landscape provide
time and space and both are exactly what I
need at this point in my artistic life.
During your stay in Iceland, did you see any
exhibitions which affected you?
I went to many exhibitions during my three-
month stay at SÍM, from small gallery shows
to larger museum exhibitions to performanc-
es. At the beginning of my stay, I went to
the opening of the Listaháskóla Íslands MA
degree show at Gerðarsafn in Kópavogur. It
included many sophisticated and thoughtful
works and “The Remains” by Katla Rós Völu-
og Gunnarsdóttir in particular really moved
me. It is a sculpture/installation about the
death of the artist´s mother with photographs
and letters lining the wall surrounding a mass-
ive stack of shrink-wrapped boxes filled with
her mother’s possessions. The emotion in this
piece was palpable. Then during the Reykja-
vík Arts Festival I went to see “Der Klang
der Offenberung des Göttlichen” by Ragnar
Kjartansson. This piece was a series of hand-
made stage scenery vignettes with beautiful
live music by an orchestra and choir. It was
an immersive piece in which I forgot every-
thing around me and focused only on what I
was seeing and hearing. I did not want it to
end. Finally, I was thrilled by “Flight Trails:
‘and the world was sung into existence’” by
Ragnheiður Harpa Leifsdóttir. It was thrilling
to watch the two airplanes fly around in the
bright blue sky over the sea near Harpa and
create a drawing in the sky. A live women’s
choir sang as the drawing progressed and,
once again, I felt immersed in the work.
During your stay, have you made any new
connections which you might benefit from?
Over the past three months I have made some
great new connections and deepened the
connections I made during my last stay in
Iceland in 2013. This time I met more gallery
owners and artists. I have several exhibition
possibilities in the works and was offered a
two-month show at the Wind and Weather
gallery for 2015.
Was there anything about the Icelandic art
scene that surprised you?
I am constantly surprised by the art scene
in Reykjavík. It is vibrant and busy and I am
impressed with the sense of community and
support between artists and patrons. I am also
impressed with the freshness of the work cre-
ated here in Iceland. The Icelandic aesthetic is
unique and the concepts Icelandic artists are
exploring and presenting seem to be pushing
boundaries. It’s exciting to witness.
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