Björk Haraldsdóttir's latest works are conceived as groupings of complementary shapes, patterns and tones. Working in sets reveals a new dynamic; a conversation between pieces with individual personalities allows a...
Björk Haraldsdóttir's latest works are conceived as groupings of complementary shapes, patterns and tones. Working in sets reveals a new dynamic; a conversation between pieces with individual personalities allows a rhythmic interplay to develop. This is a direction the artist is finding increasingly intriguing to travel down.
Valshamur is the name of the cloak that Freyja, the Nordic goddess of love and fertility, wore which allowed her to fly wherever she needed to go.
The sets also explore new tonal directions. Single colour vessels with pattern revealed only by the juxtaposition of slip clay and stoneware clay appear quite serene. Solid whites and solid blacks flatten the aesthetic and allow scribed patterns to characterise the pieces in way that is very different from their ‘sister’ pieces patterned with contrasting tones. These works are an evolution but hold a strong memory of their multi-tone antecedents.
Originally from Iceland, Björk Haraldsdóttir’s ceramic vessels explore the conversation between the pseudo perfection of geometric pattern and the tactile impurity of hand modelled clay. In each vessel she deliberately creates warped planes through careful pattern cutting and jointing of would-be flat slabs of clay so that her vessels become slightly off-kilter, beguiling the viewer. The strong geometric patterning and both natural and architectural forms that make Bjork’s work instantly recognisable is heavily influenced by her past. The artist studied architecture at The Glasgow School of Art (where she collected the Glasgow Silver Medal for Architecture) and worked in the industry for over 20 years for a number of renowned architects including Richard Rogers before exploring her passion for ceramic forms. She works with the clay as she trained, pieces are planned and drawn before they are made and made as they are conceived – glass and steel have long since been replaced by clay.
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