My upbringing in Iceland and exposure to the extraordinary in nature will always suggest reference points for my work. However, my professional background in Architecture is also an influence and so my work remains unequivocally architectural to my eyes.
The finished pieces are a conversation between the pseudo -perfection of geometric pattern and the tactile impurity of hand-manipulated clay. I often deliberately create warped planes through the careful pattern cutting and jointing of would-be flat slabs so that they become intentionally and subtly off-kilter.
My work is defined by the interaction of these 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. The applied decorative process suits monochrome and the limited palette seems to strike the right balance between form and pattern.