Blue yonder, sensitivity some place else.

An installation at the group show Illumination/Birting at Gerðarsafn.                   


The work ´Blue yonder´ illustrates in different media, how colours and patterns on a material are defined or expressed by outer influences like light or  ... by the material's own nature. 
I worked with 6m x 2.6m long traditional painting canvases, coloured with photosensitive paint and left them bundled up outside exposed to sun, wind and rain. With this done the colours absorbed into  the material ..shaping colour flows and various patterns fixed by light and heat.
This work is made under influence of a story told about the Norwegian painter Edward Munch. Munch occasionally kept his paintings on the veranda outside his studio,  under outer conditions of both snow and sun.  

The installation includes small glass objects as a metaphor for glass-blown „words“ placed next to names of Icelandic minerals and colour-words. Also included are images of colours often referring to a "bleeding" texture or fading colour spectra as part of the context.

In the show I present the glass-blown objects, ink drawings, printed texts and images together. These are works I worked on in combination with the fanzine making of “The lawlessness of dreams”  Publisher Torpedo press 2015.

Birting/Illumination is a part of  Reykjavik Artfestival.


Text from Gerðarsafn website          

Illumination is an exhibition of works by contemporary Icelandic artists inspired by stained-glass windows by Gerður Helgadóttir (1928-1975) in Skálholt Cathedral, Kópavogur Church, and elsewhere. The exhibition aims to consider places such as museums and churches, and the rituals that take place there: whether formal, casual or solemn, they clearly influence the perception and experience of the observer/participant.
Gerður‘s window designs for Kópavogur Church are characterised by rhythmic forms and a colour palette which create a “shrine“ of flowing shapes without any overt religious symbolism – the aim is more to touch the observer at a universal, emotional level. “Ecclesiastical” or “religious” themes will, by the same token, give way to broader approaches, bringing out the universal human, spiritual, phenomenological or mystical character of the works of contemporary artists.


Edward Munch with «The Sun» in the snow (1911)