Morkinskinna II, 2025

My professional background is in Architecture and my work remains architectural to my eyes. My work is also inspired by the narrative of Icelandic folklore and literature. The titles of the pieces often reflect what is behind the raw clay and careful pattern. It is an important tie to my homeland.

The work is a conversation between the pseudo-perfection of geometric pattern and the tactile inaccuracy of slabs of clay. It is defined by the interaction of the very distinct attributes of form and pattern. The basic premise of ‘draped’ pattern over three-dimensional form is straightforward but the range of expression it allows is vast. Form and pattern are individually and equally important. There is often an ambiguity in the pieces caused by the drape of the pattern over the form, and I often place a rigid, geometric pattern onto an organic form, and vice versa. The ‘grain’ of the pattern vastly alters the perception of a piece and two superficially similar forms will appear unrelated when rendered with different patterns. I tend to design my work in series and I like the work to converse.

I am drawn to monochrome. It could be seen as a reflection of the monochromatic palette of the Icelandic landscape, particularly in winter. I sometimes think my work is reflective of that landscape with black lava peeking out from beneath snow covered planes. However, that is an entirely subconscious outcome. My decorative process simply suits monochrome and the limited palette seems to strike the right balance between form and pattern.