AVS. Arkitektúr verktækni skipulag - 01.06.2003, Qupperneq 53

Foreign dress designers have liked the textures I have created in wool
and I have used this a lot in my design. Our foremost painter, Kjarval,
used lava as a motive in many of his paintings and many artists have
followed suit. I have also come under this influence.
Iceland has moments to offer that are almost supernatural when the
morning fog creeps in and creates the “hidden people.” The feeling
born during these moments is often the beginning of what you want
to say in your work. Landscape has often been the beginning motive
or inspiration. Our artists have defined the colours that we live with
and the lcelandic feeling for colour is very different from, say, the
Italian or Spanish. Calvin Klein and Gucci have become fascinated by
the lcelandic colour sense, where natural colours have received life in
cashmere, silk, fine wool and linen.
The wind is something we lcelanders all know. Foreigners have often
said that the wind is one of the typically lcelandic phenomena. I often find myself choosing materials that
move if I blow on them.
Hot springs are another natural phenomena we have in lceland. They form endless patterns and continuous
changes of colour, which makes them indefinite and interesting to look at. My springs were made of suede
on very thin tjull and chiffon.
In the book “Gersemir og Þarfaþing,” the history of the National Museum, many interesting objects can be
found. Icelandic treasures became the inspiration for an interesting pattern where .the lcelandic “víravirki” was
the motive.
Lava can sometimes appear like black glass (hrafntinna) and the textures that can be found are endless. I
have used it as an inspiration for the folds in a special “solstiss” lace or in other types of folds in satin materi
al.