I am an Icelandic artist born in Gothenburg 1988, educated in The Icelandic Film School and The Gothenburg Academy of Arts, Valand.
Art came to me through the cinema. After making short films for a few years I became more interested in the individual frame, the story it contains and the frozen movement. Working within the stillness of the two-dimensional picture and I have found that while in my short films I tried to slow down time, in my paintings things happen fast, they contain stories. In films things are sometimes too chaotic, part of the work rushes by and disappears, one has to work in accordance with that while also having the spectator very much in mind, this unknown person that you are having a dialogue with.
This conversation with the viewer is not as apparent in art. We tend to seek inspiration from within. I try to fight this, I try to remain open to external stories when I work though of course the artist is always the director, makes his mark.
I let whatever is happening around me enter the paintings and thus they acquire the speed, punchlines and drama of films.
In the beginning there is the scene, that special world, then figures move into it and the stories begin. I don´t plan them, they just happen and afterwards I often find that they stem from memories and the world surrounding me at the time, personal, political and social and while I am working I have the viewer very much in mind, we are having this conversation.
My paintings are often big, they need space (approx. 3 m. wide and 2 m. high).
My work material can be just about anything, found objects, raw materials as well as traditional canvases, all kinds of paint, acrylic, spray and drawing pens. I like the history that old material adds to my paintings, though I don´t always know that story myself. The thought appeals to me that even the artist does not know everything.
As I mentioned earlier the audience is important to me. Once the work is finished it is theirs, they receive it and draw their own conclusions.
My exhibitions vary depending on the space and I often use chairs with the paintings. Those chairs are sculptural paintings. The exhibitions space becomes more conceptual when I use them, the viewer is invited to enter my works.