Twice Flattened Form II

Year: 2015
Size: 1100 x 1100 mm

Twice Flattened Form II (Detail)

Year: 2015
Size: 1100 x 1100 mm

Twice Flattened Form I (Detail)

Year: 2015
Size: 1100 x 1100 mm

Year:
Size:

Year:
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Twice Flattened Form I

Year: 2015
Size: 1100 x 1100 mm


Smįragata 2
101 Reykjavķk
Iceland
Sķmi: 5517712
GSM: 6947712

Private Exhibitions


2010
Dry Ice and Anti-Freeze
Iceland

2007
Schiehallion
Iceland

2006
Vanishing Point
Iceland

2004
Veran ķ deginum / Thing of a Day
Iceland

2003
From the Edge of the Visible World
Iceland

20003
A Space Between Shadows
Greece


1997
Massing Unmassing
Britain/United Kingdom

1996
Til jaršar
Iceland

1992
To the Surface
Britain/United Kingdom

Group Exhibitions


2013
Höstsalongen
Sweden

2007
Hįtiš tjrįnna, Barnaheill (Save the Children) annual auction of fine art
Iceland

2006
Hįtiš trjįnna, Barnaheill annual action of fine art
Iceland

2005
Hįtiš trjįnna, Barnaheill annual action of fine art
Iceland

2002
Welsh Artists
Britain/United Kingdom

2001
All That Is Solid
Britain/United Kingdom

2000
The Times of Our Lives
Britain/United Kingdom

1997
Christmas Show
United States

1995
The Sea
Iceland

1994
The Royal Overseas League Annual, Edinburgh
Scotland

1994
Paperworks V
Scotland

1993
Spectator Awards, London
Britain/United Kingdom

1991
Earthscape: New Visions Towards Environmental Solutions
Britain/United Kingdom

1991
New Contemporaries (shortlisted)
Britain/United Kingdom

1990
Welsh Colleges Degree Show Selection
Britain/United Kingdom

1989
Young Contemporaries
Britain/United Kingdom

Education


1988
Finland
Exchange programme

1987-1990
Britain/United Kingdom
BA (Hons), Fine Art (Sculpture) 1990; Welsh Colleges Fine Art Graduate of the Year Award, National Eisteddfod of Wales, 1990

1977-1981
Britain/United Kingdom
Diploma in Landscape Architecture, DipLA(Glos) 1981; BA, Landscape Studies 1980

Memberships

Grants and awards


1994
Styrkir


1990
Styrkir

More information

My staple medium is the fall-out from volatile, short-lived processes that run their course and leave behind them a chronicle of events that are dislocated by the passage of time.

The large-scale ice-melt works operate somewhere between sculpture and drawing. Really the flattened remains of defleshed objects in the round, they allude to the paradox of the material world, and draw as their primary source from the metaphysics of landscape. Made from ice, but often shattered into explosive configurations suggestive of volcanics and seismic collision, these ultra-heavyweight drawings take on aspects of the Icelandic terrain: flood, faultline, bedrock and glacier sit on the paper surface as rusting iron fossils pressed flat by time and gravity.

The massing and unravelling of nature“s architecture, as an endless spiral of collapse and rebirth, is of interest to me first and foremost as an intensification time. Central to the ice-melt process is material change and transformation, as solid and void exchange roles. However, experiencing the work has inevitably been conditioned by our growing realisation that the earth“s systems may be breaking down, spear-headed by the shrinking of the ice-caps. The ghost-presences of extinct forms stranded on the surface of the drawings, therefore, increasingly becomes a contemporary commentary.

Iron, the material at the heart of the Industrial Revolution - and of humankind“s claim on the land by conquest or cultivation - is, in Iceland, the medium that breaks down the landscape from within. As the chemical weak link in the basalt, it“s the stuff that brings the mountain crumbling down onto the plain as oxidised scree and dust. In its rusted state it“s also the stuff of obsolescence; of things that have had their time.The pools of iron space on the surface of the drawings acknowledge a distant geological past, but also a permanent state of change - now itself assuming a synthetic dimension - offering, perhaps, an intimation of unsettling times to come.


žessi stóru ķslistaverk eda ķsžrykk liggja einhversstašar į mörkum höggmynda og teiknilistar; unnin śr ķsblokkum og jįrnlitarefnum er smį saman brįšna ofan į pappķrin. Viš brįšnunina falla śt efni sem minna helst į jaršvegsleifar eša steingervinga mótaša af tķma og žyngdarafli. Ryšlituš ķ mörgum blębrigšum, en sumstašar svört og sumstašar blį.

Įferšaržykku listaverkin bera sterkan svip af atgangi ķslenskra nįttśruafla og stöšugum umbreytingum landsins; flóš įnna yfir eyrar og sanda, hopandi skrišjökla og jökulöldur, hreyfingar jaršskorpu og berggruns. žau endurspegla landiš sem bęši gefur frį sér allt efni og sżnir.

Byggingarlist nįtśrunnar er rakinn ķ sundur. Vafningurinn brotnar nišur og endurfęšist aftur meš tķmanum. Breyting veršur į efninu sem sundrast, sameinast, umbreytist og hlešst aš sķšustu upp sem misžykk setlög jaršefna og lita.

Ķ listaverkunum veršur mašur įžrefanlega var viš žį óafturkallanlegu žróun, aš innvišir jaršar og nįttśru eru smį saman aš brotna nišur; jöršin hlżnar og jökulkįpan brįšnar, žynnist og hopar. Dreggjar lišinna tķma - žess sem einu sinni var - reka į land į yfirborši listaverkanna; varšveitast žar og öšlast nżtt lķf ķ samtķmanum. 





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