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Spectrum 2011 (on the right)Watercolors made from 36 plants from my grandmothers garden.82 x 62 x 2 cm“Spectrum” 2011 Detail.Top row: Meadowsweet, (mjaðjurt). Bog Bilberry,(bláberjalyng).Below: Rubarb root (rabarbararót). Meadowhorstail, (vallelfting).
Tea Leaved Willow 2011Plant dyed wool. All balls of yarn are plant dyed with leaves from the same tree that my grandmother planted 40 years ago.Vitrin: 90 x 62 x 135 cm
Re-Give 2007-2009Mittens I made for my grandmother. Wool, embroidery thread, nalbinding, knitting, embroidery.Aproximately 40 x 40 x 1,5 cm each.Re-Give detail. Nalbinding and embroidery.Re-Give detail. Rose patterned mittens.Re-Give detail. Plant dyed wool. Sampler.Re-Give detail. Plant dyed wool, birch leaves.
Trousers 2011Unravelled polyester trousers that belonged to my grandmother.17 cm diameter.Seedlings 2009A photograph of seedlings from Tea LeavedWillow from my grandmothers garden.40 x 53 x 2 cm
Untitled. 2009. Photographs of my grandmother helping me knit and then me helping my grandmother to knit.22x5 x 32,5 x 2 cm each.
Urban Color Palette, Reykjavík. 2010. Carnegie Art Award 2012.The piece Urban Color Palette, Reykjavík, consists of woven wool plant dyed in weeds from downtown Reykjavík. This project is asite specific research into the color-palette of Reykjavík that is usually invisible, although constantly in front of us. I focus my attentionon my immediate surroundings where weeds grow in vacant lots, between houses and at the side of the road. These are common butun-popular plants, such as chickweed and dandelion. This work consists of 21 pieces each panel is dyed with one plant.Urban Color Palette, Reykjavík. 2010.Woven wool. 45 x 45 x0,75 cm each.Garden sorel, (Túnsúra).
Overlap 2011Linen, woven, acrylic paint. 60 x 60 x 0,75 cm
“Urban Color Palette, Charlotte” 2010Plant dye from Charlotte weeds, crochet wool.Commission for the Mint Museum of Art, NC, Charlotte. USA.Permanent installation.The piece Urban Color Palette, Charlotte consists of various sized crochet pieces from wool plant dyed with Charlotte weeds, thepieces are placed in a colorful composition on the museum wall.The piece is a site specific research into the colors of the area. I focus my attention on the immediate surroundings, in this case theMint Museum. I pick common weeds and un-popular plants, such as chickweed and dandelion, that grow on the edge of the road andin vacant lots in the area. These plants, are not part of the standard palette of plant dyeing, the results of the process being beforehanduncertain and undocumented, but non-the-less proving to lead to results with a rich color-palette and often a strong character.From these plants I get countless variations of yellow and green tones with undertones of browns and grays. These I use to color thewool that is the basis of the work. By doing this I explore the environment that is close at hand, and the possibilities that can be foundin everyday life, within a traditionally underprivileged area in Charlotte. This project therefore becomes a site specific research into theCharlotte color-palette that is usually unseen, although constantly in front of us.
Urban Color Palette, Charlotte 2010Plant dye from Charlotte weeds, crochet wool. Size variable.Left: Curled Dock, (Njóli). 32 x 32 cmRight: Dandelion flowers, (Fíflablóm). 26 x 31 cm
The Spinning machine in Ólafsdalur, intervention, 2009.Valleys - Hills - Handcrafts.Group exhibition in an old agricultural shool in Olafsdalur, in the west of Iceland. Summer 2009.The spining maching in the old farmschool in Ólafsdalur had been unused for 50 years. My piece for the exhibition “Valleys – Hills– Handcrafts”, was to fix the spinning machine and learn how to use it and spin yarn with it. I dyed the yarn with local Curled Dock,a plant widely found in the west of Iceland and knit a pair of longjohns. In the exhibition I showed the longjohns and photographs ofthe process of fixing and cleaning the machine.The Olafsdalur Longjohns. Installation view.86 photographs of the process of re-activating the spinning machine.
94 photographs (sample) of the process of transforming the spinning machine in a functional condition.
The Olafsdalur Longjohns. 2009. Knit wool spun in the spinning machine, dyed with Curled Dock, (Njoli) from the West of Iceland.
The spinning machine in the exhbition at the old school house fixed and functional. On the wall is a technicaldrawing, made by me, of the spinning machine.The Spinning Machine in Ólafsdalur, technical drawing. 2009. 45 x 55 cm
Equivalent. November, 2006SAFN, Reykjavík. Iceland. Installation view.
Red Iron Oxide. 2006. Linen, acrylic paint, woven.65 x 65 x 0,75 cm
Olive Green. 2006. Linen, woven, acrylic paint.60 x 60 x 1,5 cm
Bakground. 2006i8 Gallery. Reykjavík, Iceland. Installation view.
My Three Grandmothers. 2005Porcelein figurines. Installation view.Guðrún <strong>Bjarnadóttir</strong>23 x 7,5 x 7,5 cmSvanhildur Ólafía Guðjónsdóttir18 x 15 x 15 cmÞóranna Guðjónsdóttir18 x 18 x 10 cm
Foundation. 2006. Ink-based dye on paper. 36 x 28 cm each.
Installation view of Gingham pieces.Gingham, Phthalo Turquoise. 2006Linen, acrylic paint, woven. 80 x 80 x 1,5 cm
Ground. The living Art Museum. July 2006.Plain Weave 16/2. 2006Linen. Woven. 70 x 70 x 0,75 cm
Work(s)Installation view. ASÍ Art Museum. Reykjavík, Iceland. 2004
Frippery. 2004Embroidered tablecloth (found object) with velvet pile embroider on top.110 x 45 x 45 cm. With pedastal.
Belgian Linen 2004.Crochet belgian linen. 120 x 25 x 25 cm with pedastal.
Reconstructed Canvas. 2003Crochet belgian linen.74 x 74 x 4 cm.
Reconstructed Canvas, II. 2003Crochet cotton (unraveled canvas) and canvas.127 x 53 cm.
From the left:Ásrún KristjánsdóttirHólmfríður ÁrnadóttirKristveig HalldórsdóttirGerður <strong>Bjarnadóttir</strong>Guðrún <strong>Bjarnadóttir</strong>Ragnheiður HrafnkellsdóttirIngibjörg JóhannsdóttirKatrín SigurðardóttirGuðbjörg Elín ÁsgeirsdóttirÞóra SigurðardóttirGuðrún <strong>Bjarnadóttir</strong>, (amma)Þórunn Svanhildur EiðsdóttirHafdís Helgadóttir.13 Portraits, 2004Lint-roller tape mounted on plexy.15 x 10,5 cm. Each.
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