STARA - 01.09.2015, Blaðsíða 55
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How do you use your studio?
My studio is my sanctuary, a timeless place free
from stimulation outside of visual art. It is like
an extension of my thought and body. It is my
playing field and where I can visualize how to
proceed without actually being there. The studio
is a construction zone and is quickly filled with
materials and tools.
What projects are on the horizon?
There are several projects this year. In October
I’ll be opening three exhibitions. These are all
different projects and their context is divergent.
For a private exhibition in Harbinger, I have been
experimenting with colour, materials and meth-
ods, and examining expansionary potential of
forms and mediums in a broad sense. The dual
exhibition in Skaftafell with Eyborg Guðmunds-
dóttir is developing i.e. in conversation with cu-
rators and with art history with relation to Ey-
borg’s geometric works. The group exhibition in
Árnes Art Museum is a rendezvous with three
other contemporary artists who work with paper.
In parallel with this, I’m also working on a book
art, where I consider the exhibition space in a
broad sense, both in terms of audience participa-
tion and distribution of art work.
How important is it for you to have a studio?
My studio is a necessary fixed point. My work is
basically studio work and I spend a lot of time in
the studio thinking or building something, which
is created in conversation with the materials and
through experimentation. Since I finished my
studies, I have almost always had a studio and
have spent time at guest studios, e.g. in Finland,
The Czech Republic, Estonia and Turkey. It is im-
portant to me to experience buildings and dif-
ferent spaces, especially when I’ve had extremely
small studios here at home. Then it is good to
expand the scale, e.g. by visiting guest studios.
Give us a short description of your studio
My studio is 47 m2, big, bright, with eastern light,
high ceilings and a view. It’s a good space that in-
fluences the work; it is possible to move objects
around and gain perspective.
What is your objective/ goal?
There is no end point, but I think it is necessary
to be surprised and excited about whatever you’re
tackling, that it thereby grows and becomes func-
tional. When a work is finished, losing interest in
it comes as a relief and it just exists. If not, it will
continue to bother you.
Where do you get your inspiration?
What stimulates me most often is cultural phe-
nomena, e.g. construction methods, definitions
and conceptual backgrounds. Inspiration comes
through the process, the practice of art itself.
In a perfect world art would be… assigned a lot
of time and space. It has unbelievable power.
Motto
Endless curiosity.
Influences
I suppose they are mostly connected to the senses,
or some basic component of them, e.g. propor-
tions and form in music and structures, sound,
light, colour, materials and daily life. The points
of view in movies and in the works of other art-
ists give a lot of energy.
What is SÍM to you?
An important, interesting society. The newest
campaign, “We pay artists,” and the basis for
discussion in relation to it is an example of the
mapping and gaining perspective over the field
of work of visual artists and the pressure a society
can create around certain interests. Additionally,
SÍM has an important influence on how boards
of specialists concerning visual art are appointed
and is, for us visual artists, an important social
phenomenon.
Why did you become a member of SÍM?
SÍM, the Living Art Museum, and later, the Rey-
kjavík Sculpture Association, were associations I
felt important to connect with because they all
reflect different aspects of my field of work.
What are the benefits of being a member of SÍM?
SÍM provides, among other things, information
services and is transparent in a way that allows
you to partake in discussions if you choose to. A
tangible benefit for me has to do with my work-
ing environment, e.g. my studio. In addition to
this, I have received a travel grant from the
Muggur fund.