Balance I

2021

Balance I

Balance I
Common Ground Korpúlfsstaðir. Hvar á ég heima? 2022
Common Ground. Where is my home?

Common Ground is an international project dedicated to the idea of home in the context of migration. It is the result of cooperation between three partners – the Centre of Contemporary Art Znaki Czasu in Toruń, the Academy of Senses in Reykjavik and the Association of Lithuanian Artists in Vilnius. It is built as a platform for cooperation between institutions, artists and scientists in aim to exchange inspiration, knowledge and experience.

Balance I,
My art works are often in the form of installations with reference to things in my local environment. I exhibited a part of a greenhouse and called the piece Balance I, a meditation on the global warming that causes human beings, animals and plants to flee from their homeground to seek shelter and livelyhood.

A house, an indication of a greenhouse with each corner tilted on a ball. Like sitting on four global earths or balloons —floating on the ocean.The Global warming has changed borders and affected human living and habitat. Many have lost their homes, their shelters and have been forced to break their roots. With the access of the internet it is easy to know what is happening all around the globe. It is easy as well to not be present when at home.

Home is in my heart, friends and family, vegetation and animals, where love and emotions are free to thrive and mature. Also some kind of a global secure place in the heart to connect and care for other living beings.

Róla

2020

Róla

Á sameiginlegri jörð | Korpúlfsstaðir 2020
Þema sýningarinnar er sú áhugaverð staðreynd að viðurkenna þarf vaxandi fjölbreytileika samfélag okkar og skapa þarf sameiginlegan grundvöll til að skiptast á hugmyndum og stuðla að gagnkvæmum skilningi.

Verkið Róla er þátttöku verk, unnið út frá endurminning listamannsins frá bernskuárum í sveit. Verkinu fylgir bók sem safnar sögum þátttakenda bæði af upplifun og endurminningum. Rólan býður upp á samveru og persónulega upplifun einstaklinga allt að 10 manns geta rólað í einu.

Efni: Viður og kaðall. róla 3.5 m x 0,75 m hæð/kaðall 5 metrar.

On Common Ground | Exhibition at Korpúlfsstaðir 2020
On Common Ground was conceived as an invitational exhibition to bring together Icelandic artists and artists from Lithuania and Poland who are presently living and working in Iceland.

As immigration to Iceland has increased over the past decades (mostly from Lithuania and Poland, but from other countries as well), so have immigrants contributed to the vibrant cultural life of the country. The purpose of this exhibition is to acknowledge the growing diversity of our community and create a common ground on which to exchange ideas and promote mutual understanding.

https://www.icelandicartcenter.is/articles/on-common-ground

https://www.academyofthesenses.is/on-common-ground

Synjun

2018

Synjun

SYNJUN, forrými Hallgrímskirkju, 2018

Í verkinu Synjun, sem sett er upp í forrými Hallgrímskirkju nú á nýhafinni Góu, vinnur Kristín með við, sem fenginn er úr ruslakompu trésmiðju og ber því á táknrænan hátt tilvísun í tilvistarlega stöðu flóttamanna, sem eru afgangs og aflóga á flótta sínum frá styrjöldum í heiminum. Viðurinn er í formi fínlegra og viðkvæmra lista af ýmsum tegundum trjáa, bæði harðvið og mjúkum við, dökku tré og ljósu, sem átt hefur rætur og vaxið hefur á ólíkum stöðum og við ólík skilyrði, en hefur á þessum tímapunkti skilað sér upp á Íslands strendur. Viðurinn er óvarinn og með sýnilegar æðar, rétt eins og á manneskjum. Listarnir eru settir saman í geómetrísku mynstri sem minnir bæði á kristið krossform, en líka á krossa sem haka þarf í á endalausum eyðublöðum sem tengjast umsóknum um hæli. Krossformið er hengt á vegg í anddyri kirkjunnar með ákveðna fjarlægð frá fletinum, svo grillir í vægt ómandi endurvarp sterkappelsínugulrar húðar á bakhliðar þess, með tilvísun í litinn sem notast er við í neyð, svo sem í neyðarskýlum, -bátum og -vestum Björgunarsveita landsins. Krossarnir eru jafnmargir þeim sem vísað hefur verið úr landi til þessa. Á veggnum andspænis krossunum standa gegnheil form úr renndum viðarbolum, sem minnt geta á þanin móðurbrjóst, full af hlýju og kærleik. Viðurinn ber enn merki um börkinn sem verndar og umlykur mjúkt tréð, og formið er lífrænt og óreglulegt, sem vísar í persónuleg tengsl lífgefandi mjólkurgjafar móður til barns. Brjóst Maríu eru sjö talsins, tala sem hefur sterk tengsl við kristna táknfræði. Upp við þriðja veggflötinn hangir tvívíð mynd af risastórum hjartavöðva sem skorinn hefur verið út í plastefni með sama neyðar-appelsínugula litinn og tifar í rýminu milli krossanna og veggjarins andspænis. Innsetning Kristínar í Hallgrímskirkju er auðmjúk og fínleg, en jafnframt margræð, þar sem hún ávarpar þann aukna straum flóttamanna sem legið hefur að undanförnu til Íslands, og þeirri miskunnarlausu ákörðun stjórnvalda að vísa meirihluta þeirra af hörku aftur úr landi.

Texti: Guja Dögg Hauksdóttir

Texti af síðu Listvinafélagsins

Grein eftir Rögnu Sigurðardóttur sem birtist í Artzine 07.05. 2018.
artzine.is/um-samud

REFUSAL in the lobby of Hallgrímskirkja, 2018

In her work Refusal, which is now on display the lobby of Hall – grímskirkja, at the beginning of the old month of Góa, Kristín works with wood sourced from the lumber shed of a carpentry shop – thus symbolically referencing the existential status of refugees, who are left-over and surplus in their flight from war-torn regions of the world. The wood is used in the form of delicate, fragile laths of various types of timber – hardwood and soft, dark and light – which had roots and grew in different places in in vary – ing conditions, to finish up on the distant shore of Iceland. The wood is untreated, with visible veins – like a human being. The laths are assembled into a geometrical pattern which recalls the shape of the Christian cross, and also the crosses that must be checked on the endless application forms that must be filled out by applicants for asylum. The cruciform piece is hung on a wall in the church lobby, slightly away from the surface, giving a faint reflection of the bright orange coating on the reverse that references the colour of emergency: the orange-coloured shelters, lifeboats and lifevests of Iceland’s search and rescue teams. The number of crosses in the work is equal to the number of refugees who have been deported from Iceland. On the opposite wall are solid forms made of turned logs, which are reminiscent of swelling maternal breasts, full of love and affection. The wood still shows traces of the bark which envelops and protects the soft interior of the tree; and the form is organic and irregular, evoking the personal bond entailed by the mother’s life-sustaining breastfeeding of her child. Mary’s Breasts are seven in number – a number which is strongly linked to Christian semiotics. Against the third wall hangs a two-dimensional image of a huge heart muscle, cut into sheet plastic in the same emergency-orange colour as resonates in the space between the crosses and the opposite wall. Kristín’s installation in Hallgrímskirkja is modest and delicate, and at the same time enigmatic, addressing the issue of the increasing flow of refugees to Iceland, and the merciless determination of the authorities to brutally expel most of them from the country.

Text by: Guja Dögg Hauksdóttir

Hryggur / Ridge

2017

Hryggur / Ridge

Hryggur (Ridge),ShapeShifting/Hverfing. Verksmidjan Hjalteyri 3.08-3.09 Iceland 2017

verksmidjanhjalteyri.com

Hryggir verk eftir Kristínu Reynisdóttur er stór útskurður sem dregur fram á óræðin hátt útlínur mannshryggjar, þess hluta beinagrindarinnar sem myndar hlífðarrás um taugakerfið, mænugöngin. Formið á gólfinu myndar hryggin á meðan negatífan, sem hangir úr loftinu ýjar að fjarveru, eða ummerkjum hryggjarins. Hryggurinn er áþekkur öðrum flíffræðilegum og jarðfræðilegum fyrirbærum, til dæmis fjallgörðum og hryggjaum á flekaskilum jarðarskorpunnar. Sjálflýsandi rautt efnið vísar til hættu og neyðarástands og ákalls um björgun, og undirstrikar þar með bráða nauðsyn þess að mannkynið leiti eftir jafnvægi og sátt við síkvikula jörðina. Pari Stave viðtal við listamanninn Hjalleyri ágúst 2017

The artist Kristín Reynisdóttir has created a large-scale cutout intended to evoke an abstracted outline of the human spine, the skeletal conduit of the nervous system.
The form on the ground represents the figure, while its negative, hanging from the ceiling, traces the figure’s absence. As a structural form the spine can be compared to other biological and geological formations found in nature such as mountain ridges, and tectonic ridges. The Day-Glo red synthetic material relates to the color of rescue, alarm, and emergency, underscoring the critical importance of humans finding a more harmonious balance with the living earth. Pari Stave interview with the artist Hjallteyri August 2017

Hjalteyri

2016

Hjalteyri

Prismi. Rip Mouth/Rífa Kjaft Herring Factory Hjalteyri Iceland 2016 og Tromsö Kunstforening, Tromsö, Norway 1999.

9 glerform sem mynda prisma þrístrengd form hanga úr lofti. Hver þeirra er fyllt af vatni, þegar sólin skín í gegn um formið myndast regnboga ljósbrot á vegg eða gólfi.

Efni: .er form 70 x 40 x 50cm vatn og járn strengur.

Prism. Rip Mouth/Rífa Kjaft Herring Factory Hjalteyri Iceland 2016 and Tromsö Kunstforening, Tromsö, Norway 1999.

9 glass,triangular prism, forms hang from the ceiling. Each of them is filled with water, when the sun shines through the form, rainbow refractions are formed on the wall or floor.

Material: .is form 70 x 40 x 50cm water and iron string.

verksmidjanhjalteyri.com/m