Heimasíða Ryo er: http://ryoyamauchi.com
"North Atlantic Ridge" (Norður Atlantshafshryggurinn) í gestavinnustofu Gilfélagsins sem staðsett er efst í Gilinu við bílaplanið.
Sýningin er opin 29. - 30. ágúst (föstud. og laugard.) kl. 14:00-17:00
Karen Vermeren (°1982, Belgium) studied painting at the Sint-Lucas University College Ghent (2005). Since 2009, she has been contributing to the research platform Horizontal Drawing at St Lucas University College of Art & Design Antwerp. She showed her work in several cities in Belgium and abroad. She has done several residencies in Finland, Norway, Isola Comacina in Italy (funded by the Flemish Government) and recently at the Mayer of Munich Glass Studio in Germany.
"Karen Vermeren connects processes that, deep inside the earth, form the landscape with processes in the construction of society. The overwhelming beauty of nature stirred her interest in the geological formation of the landscape. She travels to locations above fault lines where tectonic plates clash against one another or move apart. She couples a specific landscape to a given location where she is at work. It is a representation and also an environment wherein the visitor is introduced. At the fault line between the abstract and the figurative, a special form of landscape painting art is created (...)." (Christine Vuegen)
In her current residence in the guest studio of Akureyri she is focusing on the North Atlantic Ridge. Books are used as exhibition space. Transparent pages, cut outs and doubled compositions are shaping space. They function as sequels and open up windows to the insides of the ridge and the slow process of a fault line. By turning pages the cyclic changes of the earth in time become visual. Her goal is to give the viewer different possible frames so as to make him/her aware of his/her position in relation to the landscape.
Christa hefur stundað myndlist frá árinu 1995 og hefur hún aðallega málað abstrakt málverk í gegnum tíðina. Ákveðin form hafa átt hug hennar allan og hefur túlkun hennar á þeim hafa verið ríkjandi í verkum hennar.
I am a visual artist working in photography and installation. I am from the United States where I live in northern Vermont. My work here in Iceland has focused around the Icelandic spar, a stone that was used by Vikings to navigate the Arctic seas. This stone allows for expanded vision through the double-refraction of light. During this time, I have traveled the area, taking photographs, video, and sound clips, while also working in the studio with a flatbed scanner, scanning and creating stills and short animations with the spar.
Isabelle útskrifaðist frá Ecole Nationale Superieure d'Arts de Paris-Cergy árið 1996.
Um viðfangsefni sitt segir listakonan: “Ísland er land öfganna. Ég nota Snorra-Eddu til að túlka það í list minni. Til dæmis er fyrsta sagan um hita og kulda. Til að túlka hitann nota ég grófar teikningar sem tjá kraft hraunkvikunnar. Á hinn bóginn nota ég geómetrísk form (origami) til að túlka kaldan ísinn.”
Sýningin er opin dagana 21.-23. desember kl. 14.00-17.00.
Logg listakonunnar er: lidwinacharpentier.blogspot.com
1957: Born in Swiss with Belgian Nationality, and now living in The Netherlands
Art teacher training in Tilburg, 1983
Rietveld Academy Amsterdam 1985
Art Therapy at De Wervel, Zeist 2007
I regularly exhibit in museums and galleries in the Netherlands. In 2012 I participated in an exhibition in Akureyri. Publications in several books, magazines and newspapers.
21 – 22 – 23 december an exhibition in Deiglan.
About my art:
In my work the theme ‘visibility and invisibility’ is always present. Connecting to my day to day life. To experience this as new. Walking on the edge. My personal goal is to visualise universal truths. Rise above our own existence by asking the question ‘Who am I’. To always connect to my surroundings; people, animals, plants, rocks, as well as old myths (culture, nature, architecture). To make what that’s hidden, visible. Working in my atelier gives me a certain freedom that I can’t experience anywhere else. Perhaps that is the joy and the struggle of creating capacity.
The reason that I am here is that I want to experience Iceland with the old myth and genesis Edda. That experience I transform to pictures. Quite an interesting adventure.
Iceland, Iceland here I am
With the Edda as my guide I search you
Geometrically-people-the climate- seasons
Now here in the darkest of days, there is a suspicion of Ragnarock.
Every day I go out for that little bit of light.
In the meantime it is vibrating and moving with heat under your surface.
The land evaporates, heaves and sighs of old age, the glaciers cold and mute
The weather unpredictable amongst these extremes.
Lidwina charpentier 12 -12 - 2013
I have been painting landscape for over 26 years, from my days as a student at Goldsmith’s College in London painting the declining industrial landscape of my home in Newcastle-upon Tyne, to the last nineteen years spent living in and exploring the unique rural landscape of the Outer Hebrides, islands that lie off the north-west coast of Scotland.
Having a month in the artists’ studio in Akureyri has given me the opportunity to look at a different and stunning landscape here in northern Iceland. It always takes me time to look beyond the obvious, and to understand the depth of any landscape, to interpret its subtle moods, and to see the interactions between its different aspects. So I always begin by looking and drawing.
It was always going to be a challenge in the timescale to find and develop finished pieces of work, so I have concentrated on making drawings and studies from field trips around the area. I like to develop new techniques, moving from abstraction to representation through every shade of imagery, at every scale, in my work. The result is a continual construction, destruction, and reconstruction, often using materials such as oil, pigment, watercolour, turpentine, wax, sand, to try and bring the experience of being in a landscape to a surface.
I am intending to show my drawings and some of the early studies that are part of that working process. These range from intimate and rapid studies to finally large developed works. Light and form, my continuing obsession, are the theme running through the work, demonstrating the ongoing struggle to record the subtlety of the instant.
Carol was born in Montréal on March 9, 1963. After initially studying art history at the Université du Québec à Montréal (UQAM), she decided to enrol in the school’s studio arts program, ultimately earning a BFA in 1988 and an MFA in 1994.
Works by Carol Bernier have been featured in a number of solo shows at Montréal’s Galerie Simon Blais since 1995. The artist has also had solo exhibitions at Galerie Michel Guimont in Québec City (2007, 2010), as well as in Europe, notably at Galería Principal Sombrerers in Barcelona (2000), Galerie Jacques Lévy in Paris (2003, 2006), Galerie Le Sphinx in Montauban, France (1999, 2008) and Galerie La Librairie in Morges, Switzerland (2008).
In addition, Carol Bernier’s work has been on view at many art fairs and group exhibitions, including the Foire d’art contemporain in Montréal, Feria Internacional de Arte Contemporáneo – Expoarte in Guadalajara, Mexico, Perspectiva del arte actual de Quebec in Mexico City, Québec, la belle Amérique, shown in Paris, Tournai and Brussels, New Art Barcelona, Works on Paper in New York, the Toronto International Art Fair and the Papier art fair in Montréal, as well as in numerous group shows at Galerie Simon Blais.
Her work can be found in many public, private and corporate collections, including those of Desjardins Group, Transcontinental GTC, National Bank of Canada, Loto-Québec, Gaz Métro, Cirque du Soleil, SSQ Financial Group and Institut Philippe-Pinel.
Debora AlannaHybrid: Lava & Light
Populus Tremula Gallery http://poptrem.blogspot.com/
Friday 28 June 19:00 – 21:00
Saturday 29 June 14:00 – 16:00
Artist in Residence June 2013 Akureyri Artists Studio - Gestavinnustofa Gilfélagsins á Akureyri / Gil Society
My art practice has been infiltrated by the constant light, the inscrutability of lore, Icelander’s fortitude and humour, their relations to each other and the land. I am a hybrid of ancestry deeply impacted by the depth and strength of my Icelandic roots, understanding that lava and light are Icelandic character qualities. My exhibition includes works on paper, sculpture, installation and video, each media addressing a different aspect of how I process what I have been learning while living and working in Iceland.
My sensibilities are founded in the ephemeral world where illusive ideas are discovered. Disparate thoughts suggest possibilities I love to explore poetically. Utilizing the multidimensionality of space and time in the realm of my art practice, I challenge conventional thoughts about material use. I am dedicated to sculpture, and every media I engage has a sculptural component.
Debora graduated from the Ontario College of Art in Experimental Art. Known for her installation, sculpture, painting, photography and video work, she has held solo exhibitions in Kazakhstan, Italy, France, India, and Canada, and this month, Iceland. Group shows include: Diversity Makes Us Stronger, Victoria BC, ECCE ARTIST, Rome IT, Integrate Arts, Victoria BC, Lost LP Covers, Deluge Gallery, Victoria BC, SurrealEstate – Mobius, Boston MA, Um Livro Sobre A Morte - Museu Brasileiro da Escultura, Els Colors Del Foc (The Fire of Colour) –- Exposició Collectiva de Davis Museum, Barcelona, Spain, East Side Culture Crawl, Vancouver BC, Fête Picasso - Small Art Objects, Vallauris FR., A.I.R. prends l'Air – Au Lavoire de Mougins, Mougins FR, Digital Investigations: Differential Space –-Teck Gallery, Simon Fraser University, Burnaby BC, Urbanarium, Vancouver BC.She has attended art residencies in Almaty, Kazakhstan, Ahmedabad, India, Trois-Rivières, Québec, Vallauris, FR, Venice, IT, El Bruc, Spain., and in 2013, Akureyri, Iceland.Debora has lectured in art institutions and universities India and Kazakhstan, and art venues in Canada, Royal Roads University. She writes art reviews for the Exhibit-v blog in Victoria, BC.
Þóra Karlsdóttir opnar málverkasýninguna "Back to the Roots" í Mjólkurbúðinni í Listagilinu á Akureyri laugardaginn 9. febrúar, klukkan 15:00.
Þóra sýnir málverk sem hún vann í ágúst á síðasta ári meðan hún dvaldist í gestavinnustofunni í Listagilinu á Akureyri. Málverkin eru unnin m.a. með tækninni, image transfer, en þar notast Þóra við ljósmyndir sem faðir hennar Karl Hjaltason tók á bernskuárum hennar á Akureyri. Einnig sýnir Þóra vídeóverkið "Catcing the Spirit" sem hún vann á sama tíma.
Þóra stundar nú nám í myndlist við Evrópsku Lista Akademíuna í Trier í Þýskalandi og útskrifast í vor, en hún vinnur að lokaverkefninu um þessar mundir á Akureyri.
Þóra hélt sína fyrstu einkasýningu, ALL ABOUT RUST, í Luxembourg 2007. Einnig hefur hún sýnt víða erlendis, bæði í Luxembourg, Þýskalandi og Austurríki. Hún var m.a. valin til þátttöku í virtri samsýningu EVBK. Prum í Þýskalandi þrjú ár í röð, árin 2009, 2010 og 2011.
Þóra er fædd á Akureyri 1962 og ólst þar upp, en fluttist þaðan fyrir þrjátíu árum. Hún hefur búið víða erlendis síðastliðin tuttugu ár og er nú búsett í Luxembourg og þar er hún með vinnustofu í gamalli lestarstöð ásamt fleiri listamönnum.
Þóra hyggst flytja til Akureyrar aftur í vor þegar hún hefur lokið náminu og ætlar að vinna við myndlist. Í myndlistinni finnst henni mikilvægt að leita nýrra leiða og uppgötva nýjar aðferðir til tjáningar í listsköpun.
Sýning Þóru "Back to the Roots" stendur til 24.febrúar og eru allir velkomnir.
Mjólkurbúðin er opin laugardaga og sunnudaga kl. 14-17 og eftir frekara samkomulagi þess utan.
Þóra Karlsdóttir s.6914839; firstname.lastname@example.org; http://karlsdottir.com/
The processes in nature and the human being and the effect those have on each other are
also a very present factor looking at the imaginary not only as a utopic landscape, but also
as a dystopian paradigm. She is influenced by thoughts of the earth´s physical structure and
substance, and the processes that act on it. A mythological language is framed when visualizing
how the world is variable and changing. The changes of our subjective feelings concerning
the everyday life as human beings, can also be seen as parallel to the reflections of how
things and circumstances can suddenly change both for the better and the worse in nature.
The limits between reality and fiction, is to be seen as leaks into a parallel universe or as an
entry into the real, where the two notions are not separated but more likely one. She works
with this through Illusion, use of dimensions and perspective and reflections of elements, which
represent what is known different, both in form, material and subject.
In her Solo show at Populus Tremula, she will show a new piece. A mediative transformation of
an abstract landscape using color, reflexion, light and dark as her tools.
Rikke Flensberg is educated from Malmö Art Academy (MFA) in 2009 and is currently based in Copenhagen, Denmark.
She is the Guest artist at Gil Society, Akureyri.
myndlistarsýning í Populus Tremula
28. og 29. maí 2011
Laugardaginn 28. maí kl. 14:00 opnar kanadíska listakonan Heather Passmore sýninguna Form Letters í Populus Tremula.
Verkin á þessari sýningu eru unnin úr höfnunarbréfum sem Passmore hefur fengið á listferlinum og umbreytir í kraftmikil listaverk.
Listakonan er listamaður maímánaðar í gestavinnustofu Gilfélagsins og sýnir nú einnig verkið Knitting Mural á VeggVerk.
Sýningin verður einnig opin sunnudaginn 29. maí kl. 14:00-17:00. Aðeins þessi eina helgi.
Kristina Kvalvik & Christina Leithe Hansen are the guest artist of the Gil Society in February.
Kristina Kvalvik (b.1980) is a Norwegian artist currently based in Copenhagen, Denmark. She has studied film and fine art in Norway, Sweden and Canada, and completed her MFA from Malmö Art Academy (SE) in 2008. Kvalvik´s work deals with matters relating to surveillance, the inexplicable, and the threatening. In her video installations Kvalvik examine the limitations of sight and our ability to interpret what we see. She creates characters that take their form from the perspective of looking, rather than the position of being looked at. Her goal is to enrich the position of the subject by creating subjects in film that are whole and integral, even when they explore and expose the private space of their innermost fantasies.
Link to homepage: www.kristinakvalvik.com
Christina Leithe Hansen (b.1978) is a Norwegian artist currently based in Oslo, Norway. She has studied fine art in Norway, Sweden and Scotland, and completed her MFA from Malmö Art Academy (SE) in 2006. The basis of her work is presenting subject and categories of gender - and relations between image and cultural society. In her work with photography she uses traditions of documentary to construct and establish a fictional narration. When building up a scene in her pictures, she focus at a personal reaction and an emotional expression, leaving the actual performance minimal.
Link to homepage: www.christinaleithe.com
Our intention with a stay in Akureyri is to continue to do research and collect visual recordings to use in our practise. Looking at and inspired by our meeting with Akureyri, its environment and surroundings, this place will inspire, form and set marks in our work being made here.
Kristina Kvalvik & Christina Leithe Hansen 2011
the complexity of letting go
23. og 24. otkóber 2010
Laugardaginn 23. október kl. 14:00 opnar svissneska listakonan Sonja Lotta sýninguna the complexity of letting go í Populus tremula.
Sonja Lotta, sem býr og starfar í Zurich, er listmenntuð í Bandaríkjunum og Skotlandi. Í list sinni skráir hún hversdagsleika daglegs lífs út frá óvæntum og jafnvel ærslafullum sjónarhornum. Öll verkin á sýningunni eru ný og byggja á upplifun listakonunnar af dvöl sinni á Íslandi.
Sýningin verður einnig opin sunnudaginn 24. október kl. 14:00-17:00. Aðeins þessi eina helgi.
Maj Hasager is the guest artist of the Gil Society in August.
My work deals with ideas of power structures, gender, identity, public space, architecture and how these are interlinked and interpreted culturally, spatially and through representation. I use research as a work method and tools taken from the tradition of documentary in order to investigate the line between fiction and reality, questioning the documentary genre’s status as depicting the truth, and how this is and can be constituted in the public.
I consider my artistic approach research based and interdisciplinary working predominantly in text, sound, video and photography. The research is carried out in several stages on a theoretical level, on an empiric level – often taking its point of departure in interviews and collecting material such as “official” documents, personal accounts photographing and as well observing patterns of a place on site. Later all these accounts will be transformed in the creative process, where focus in the investigation of the subjects chosen are to reveal things unsaid or how dislocations and feelings of dissociation, inappropriateness and even alienation can arise when one isolates or focuses on a person or system, and one tries to understand them through the filter of the outsider. Through narrative sequences one can raise questions about the people who appear in the works, and about the viewer’s / listener’s own position as well as dealing with my own position and desire as an artist, both as a part of the work and as an intended reflection of the audience.
My intention is to continue a writing process dealing with construction of history in relation to landscape during my stay in Iceland. I will use the experiences of this residency to built up narratives that reflects places and situations elsewhere from a distance. Also through showing the video work To Whom It May Concern in an Icelandic context at Gallery Populus Tremula, which takes it point of departure in the land of Palestine and Israel, to reflect how landscapes are used as political narratives and means of control - not only through the images produced, but also in terms of the interpretation of site.
Íslensk þýðing kemur síðar.
Maja Wolna is the guest artist of the Gil Society in June.
"In my artistic project I would especially like to concentrate on the quest of human identity. I am particularly interested in this subject which requires us to asking a question what we understand through such concept. Where could we find identity or what influence does it have on us? Does consciousness of cultural identity make our life more understandable and stronger or is that an obstacle which restricts ourself?
I am polish and I grew up here but it does not mean that I solely identify with this culture. One source of inspiration me to contributing to the creation of the idea of my project was my journey to Central Asia in the summer 2007 where I have looked for my roots. My search has induced me to explore the idea of human identity and such concept together with my subjective artistic view will be the main goal of my research.
I work with different media and I have been mostly using graphic techniques like woodcutting, silk-screening, offsetting, poster production, painting and other media in which I can express myself in the best way. Poster art as a contrary and absurd commentator of reality with its clear and forcible means is an excellent vehicle for expressing content. That is one reason why poster art is the most familiar artistic language for me. But in my opinion the medium should not constitute the whole point of the project and that is why in my work I would like to use different media and during my research on Iceland I will not be restricted to any particular one.
During my stay I am planning to conduct interviews with citizens of Iceland, other researchers and artists too. Their own view and exchange of ideas may open new ways of my perception.
As a result of my research I anticipate producing paintings, drawings and posters through which I would like to express the main goal of my artistic statement. On the basis of meetings and conversations I am going also to produce a series of photographs and short films.
In my view Iceland will be an excellent place for my work. I trust that my stay will provide variety and be very helpful in the realization of my project and will open new avenues of my artistic exploration."
Íslensk þýðing kemur síðar.
Teikningar mínar hafa þróast út frá því ferli að vinna með tímabundna málningu á veggi.
Í fimm ár málaði ég með latex málningu, hand blönduðum iðnaðar litum, lagði litað einangrunnar límband og gvass málningu á veggi, loft og golf í tengslum við rými herbergisins. Nú teikna ég – með bleki og lituðum blýöntun; Þetta er ferill sem að leyfir mér að tengja ímyndina við þá mynd sem að ég sé. Ég teikna merki, línur og mynstur á pappír og set saman litlar sögur er gerast innan byggingarlegs ramma.
Teikning er öll um merkjagerð. Gæði merkisins –skýrt, óskýrt, gróft, mjúkt, hlykkjótt, þungt – gefur eitthvað til kynna af því sem að ég hugsa eða upplifi jafnvel þó að engin þekkjanleg mynd verði af. Stundum geri ég þungar skarandi línur með reglustiku; öðrum stundum, þá nota ég mjúka snertingu til að ná fram, draugslegum, óskýrum áhrifum. Það gæti verið að ég noti nákvæman, beinan stíl til að lýsa flóknum útlínum af blómi eða hundi, og annarsstaðar nota ég óskýrar strokur til að skapa áhrif litrófs og sprenginga. Með tímanum munu afbakaðar skreytimyndir og þykk lög sjálfsævisögulegs myndmáls þróast. Með mismunandi sjónarhornum, breytingum í stærð, og lagskiptu myndmáli, mun ég einebeita mér að því að afhjúpa mikilvægar stundir í frásögninni. Þegar horft er á verkin í nálægð, þá afhjúpast þessar stundir á mismunandi hraða, líkt og hula rýmis í hreyfingu.
Hér er tilvitnun frá bæklingi mínum frá Nútímalistasafninu í Saint Louis…
“Ég er að leita að grunnímynd sem stendur fyrir,eða táknar stundir og stað. Ég geri mér grein fyrir því að þær eru þekkjanlegar, en ekki endilega bundnar af sömu merkingu, tengslum, eða sama heimi er ég bygg þær á…ég býð áhorfandanum að setja sína merkingu/mark á einangarapar myndir = að leggja margan mismunandi skylning í verkið – gjörningur er viðheldur andrúmslofti dulúðar og forvitni og að lokum eykur á lög möguleika sögunnar.”
Michelle Oosterbaan er gestalistamaður Gilfélagsins í Maí 2009. Hún býr og starfar í Bandaríkjunum.
Drop Off Dark Star, Amber Babes, & Bedrock
51 X 120 inches, Diptcyh, Color pencil and graphite on paper, 2008
130 X 304 cm, tafla, litablýanatar og blý á pappír, 2009
MICHELLE OOSTERBAAN Statement May 2009
Mapping and memory play important roles in my work. Right now I am making large-scale drawing and collages of mixed media composed and installed specifically to a site. On rolls of paper I blend imagined narratives with personal history to explore both the formal and psychological relationships between line, color, and architectural space in which definitions of place, passage, and personal journey are united.
My drawings have evolved from the process of working on temporary paintings on walls. For five years I painted with latex paint, hand mixed industrial colors, applied adhesive colored tape, and gouache paintings to walls, ceilings, and floors in response to a rooms’ space. Now I am drawing –with ink and color pencil; Its process allows me to link what I imagine with what I see. On tall sheets of paper, I draw with marks and lines and patterns to compose pockets of stories set within architectural frameworks.
Drawing is all about mark-making. The quality of a mark—clear, blurry, rough, smooth, sinuous, bulky—communicates something of what I am thinking and feeling even when no recognizable image emerges. At times I make heavy, overlapping lines with a ruler; at others, I employ a soft touch to achieve a smoky, ephemeral effect. I may use a precise, linear style to describe the intricate contours of a flower or a dog, and elsewhere use blurry streaks to create starburst and spectrum effects. Over time, vignettes of linear abstraction and densely layered autobiographical imagery develop. With multiple perspectives, shifts in scale, and layered imagery, I concentrate on revealing the critical moments of the narrative. Viewed at a close range, these moments unfold at different speeds like veils of space in flux.
Here’s a quote from my brochure from the Contemporary Art Museum Saint Louis…
“I am searching for primary images to represent, or symbolize moments and places. I realize they are recognizable, yet not necessarily tied to the same meanings, associations, or the same world from which I construct them…I invite the viewer to put his / her meaning / imprint on the isolated images == to apply multiple interpretations of the work – an act that maintains a sense of mystery and curiosity and in the end increases the layers of the story’s potential.”
Stærð breytanleg, Gouache á pappír, fundin pappír, 2009
Dimensions Variable, Gouache on Paper, Found paper, 2009
Síðastlegin laugardag, 25. apríl, opnaði gestalistamður Gilfélagsins, Rory Middleton, sýninguna "The Fourth wall, Searching for Hjedna". Sýningin var aðeins opin þessa einu helgi.
Last Saturday, 25th April, the guest artist of the Gil Society, Rory Middleton, opened his exhibition "The Fourth wall, Searching for Hjedna". The exhibition was open for that weekend only.
Rory Middleton vinnur aðallega með kvikmyndir, arkítektúr og landslag. Hann skapar innsetningar, skúlptúra og vídeo og notar reyk, lykt og hljóð til að skapa umhverfi er áhorfandin getur gengið inn í.
This coming Saturday, 25th April, Rory Middleton, the guestartist of the Gil Society in April, will open his exhibition "The Fourth Wall, Searching for Hjedna" in Deiglan, Kaupvangsstræti 23, Akureyri. The exhibition will be open for this weekend only, Saturday and Sunday from 14:00 to 17:00 both days.
Þau verk er Rory Middleton skapar láta sig varða kvikmyndir, Arkítektúr og landslag.
Hann skapar innsetningar, skúlptúra og vídeo og notar reyk, lykt og hljóð til að skapa umhverfi sem áhorfandinn getur gengið inn í.
Með því að blanda saman nútímalegum og hefðbundnum aðferðum reynir hann að byggja upp dulúð í kringum verk hans, með því að skapa andrúmsloft kvikmynda með því að nota aðferðir kvikmynda.
Nú, þegar á Akureyri, hefur hann verið að taka upp ,,Seraching for Hjedna", vegamynd þar sem íslenskt landslag er bæði karakter og umgjörð, þar sem leikarar, listamenn og áhorfendur munu týna sér, og vona að þau munu finna hvað Hjedna er.
Rory Middleton býr og starfar í Edinburgh og útskrifaðist með MFA frá Glasgow School of Art árið 2006 og með BA frá Falmouth School of Art 2002.
Rory Middleton’s work is concerned with cinema, architecture and landscape.
He makes installations, sculpture and video and uses smoke, smell and sound to create environments into which the viewer can enter.
By combining modern and traditional techniques he aims to construct mystery and ambiguity within his work, creating cinematic space through means of cinematic devices.
Whilst in Akureyri he has been shooting ‘Searching for Hjedna’ a road movie where the Icelandic Landscape is both Character and Set, where the actor, artist and audience find themselves lost, hoping to find what is Hjedna.
Rory Middleton lives and works in Edinburgh and Graduated with an MFA from Glasgow School of Art 2006 and BA from Falmouth School of Art 2002.
Síðastlegin miðvikudag, þann 11. mars, var gestalistamaður gilfélagsins, Kristin Demchuck, með fyrirlestur fyrir nemendur og kennara Myndlistaskólans á Akureyri.
Kristin er frá Kanada, útskrifuð með MFA gráðu frá Háskólanum í Guelph, Kanada.
Last Wednesday, 11th March, the guest artist of the Gil Society, Kristin Demchuck, had a lecture in the Akureyri School of Visual arts for students and teachers.
Kristin Demchuk is from Canada, graduated with a MFA from the University of Guelph, Canada.