raymundo

STEINUNN THÓRARINSDOTTIR

Walking into Steinunn Thórarinsdóttir’s Reykjavík studio can be a little dis-

concerting at first, even daunting, as if you had crossed a threshold of some

kind and entered another dimension, another world. It is also astonishing.

The crowd of life-sized and partial figures of plaster, cast iron, stainless steel,

aluminum, bronze and glass encountered throughout the several rooms seem

to be a special breed of beings, anonymous, androgynous, part human, part

alien. Scattered about the studio are also many sculptures of beautiful wings,

surely a sign of visitants from other worlds. Some of these figures are free-

standing, others are hung on the walls or seem to emerge from them. Still

others were placed on pedestals while the unfinished pieces were stretched

out on tables as if anaesthetized, waiting to be awakened by the artist’s trans-

formative, animating touch.

In their inwardness, Thórarinsdóttir’s figures are related in feeling, if not always

in form, to Greek kouroi, Roman funeral reliefs, Medardo Rosso’s evocatively

blurred faces, and a host of modernist and contemporary work by sculptors

such as Marino Marini and Magdalena Abakanowicz. Her cast of characters is

a recapitulation and extension of the millennia-old tradition of nude sculpture

although, schematized, sheathed in a protective patina or luster, the naked-

ness of her forms seem clothed, chaste. Their faces are blank but in the subtly

differentiated postures of the bodies, anguish, supplication, yearning, res-

ignation, aspiration and a host of other emotional states can be read. For

an artist who grew up surrounded by volcanoes and glaciers, mountains and

waterfalls, and an endless expanse of sky and sea, existential themes and the

sublime drama of life are near-at-hand subjects and almost mandatory.

A prolific artist, Thórarinsdóttir begins with a plaster cast that she reworks

extensively. She says that this is where she puts most of her effort although

her attentiveness to details applies to all stages of production. Her eldest

son has served as her primary model for the past 14 years (before that it was

herself, her husband and now she has her eye on her younger son, making it a

family affair). As her model, it is his body that is cast but she alters it so exten-

sively that in its final resolution and fabrication, it becomes an emblematic

rather than a specific portrait.

UNDER THE VOLCANOBy Lilly Wei

Thórarinsdóttir uses a range of materials to great effect, including raku-fired

clay in the 1980s that she associates with lava, but the clay restricted her scale

and was extremely fragile. Now, her preferred medium is sand-cast metal

since much of her production is sited outdoors, subject to the ravages of

time and weather. Weathering also contributes effects that she embraces and

factors into her sculptures. Cast iron, for instance, rusts to form a textured

surface that ranges in color from an earthy red-brown to orange-gold, the

variegated surface in a state of constant flux, constantly re-drawn, a metaphor

in itself. These iron figures seem born from earth, ash and fire. On the other

hand, Thórarinsdóttir chose the more corrosion-resistant stainless steel and

aluminum for other works, their ethereality and reflective properties a mate-

rial and metaphoric counterpoint to the iron. Often polished to a sheen that

mirrors their surroundings, erasing the boundary between them, these buoy-

ant, luminous bodies suggest rarified creatures of air and light fallen to earth,

a contrast between light and dark.

Glass, too, is a material she likes to use in her work. Thinking of it as frozen

water, as another essential element, it also forms a barrier, despite its trans-

parency. In her recent work, she cuts out a pair of small circles, squares or nar-

row bands in the figure’s chest or head, front and back. Into these incisions, a

solid piece of glass is fitted through which light penetrates the interior, like a

window into the soul — or a kind of stigmata. The placement of the apertures

are extremely important, carefully aligned so the light can both enter and

escape, revealing the hollowness and vulnerability of the statue, referring to

the hollow, vulnerable human body. As the light changes during the day, the

angle of the ray that enters and emanates from the sculpture changes, indi-

cating the cyclical passage of time. The entering beam seems to animate the

figure and breathes the semblance of life into it.

Thórarinsdóttir has always made figurative sculpture and since 1977, the

forms have been primarily life-sized. She wants her sculpture to occupy the

same space as the viewer, not confrontationally but as doppelgangers and

alter egos, as something directly experienced. Her preference for figura-

tion was not common at the time and because of it, instead of first studying

at the Iceland Academy of the Arts where almost all Icelandic artists go for

their foundation courses before completing a degree abroad, Thórarinsdót-

tir went to England and attended Portsmouth College of Art and Design,

then the Portsmouth Polytechnic, completing her education at the Academy

of Fine Arts in Bologna, Italy, all institutions where the figure was admired

and taught. In Iceland, in Reykjavík, her uncanny progeny appear everywhere,

familiar presences on the streets of the city, around the harbor, in public and

private buildings, churches, parks and other locations.

As an artist who frequently shows internationally, her figures slip effectively

into other locations in repercussive dialogue with the selected site. Innova-

tively installed, with theatrical flair, they are sometimes presented as haunting

ensembles of upright figures by the sea, encircled by ancient trees, poised on

gleaming elongated pedestals that loft them skyward into the blue or repli-

cated in shining panels that function as backdrops. Other times they appear

as a single figure or in pairs, seated on a park bench, a rocky outcropping,

or standing, arms and head thrown back, facing the world yet enveloped in

their own poignant silence and solitude. One particularly gripping figure — in

reality a head and torso — was placed on the ground as if buried, its head

facing upward, arms pressed to its sides in Job-like pain and resignation.

A recent work consists of two cast iron heads and torsos close together, their

powdery surfaces a beautiful orange-gold, emerging from a square four-foot

tall plinth, their reaction centrifugal as they pull away from each, separate but

proximate, a microcosm of the human condition.

Thórarinsdóttir’s figures are introspective, her signature pose a variant of arms

often held close to the body, hands clasped or pointing downward, outward,

head tilted, turned aside, legs planted on the ground, deeply absorbed in

their mute soliloquies. They are reserved but project a concentrated, auratic

sense of will, the embodiment of generations of stubborn, taciturn, indepen-

dent people at risk, who have both questioned the world and come to terms

with it. Signifiers of survival, endurance, and the inextinguishable, implacable

life force, they remind us of what it is to be human — however modest our

place in the scheme of things — with something akin to triumph.

Lilly Wei is a New York-based independent curator, essayist and critic who contributes to several publications in the United States and abroad. She writes regularly for Art in America and is a contributing editor at ARTnews.

JOURNEY

2007

Aluminum

Dimensions Variable

Edition of 5

WORDS

2008

Aluminum

180 x 70 x 70 cm

SHADOWS

1998

Aluminum

180 x 70 x 100 cm

Town of Seltjarnarnes, Iceland

ROAD

2008

Aluminum

190 x 300 x 40 cm

DIRECTIONS

2007

Aluminum and basalt stone

300 x 300 x 300 cm

Leif Eriksson International Airport, Iceland

HEAVEN AND EARTH

2000

Aluminum200 x 300 x 30 cm

ECHO

2006

Cast iron and aluminum

Dimensions Variable

MOMENTUM

2004

Aluminum

51 x 36 x 115 cm

POEM

1999

Cast iron and glass

35 x 100 x 12 cm

CONNECTION

2004

Anodized Aluminum

80 x 200 x 25 cm

SITUATION II

2005

Aluminum and mirror steel.

38 x 30 x 30 cm

Edition of 7

SITUATION I

2005

Cast iron and glass

38 x 30 x 35 cm

Edition of 7

VISION II

2005

Cast iron and glass

38 x 52 x 37 cm

Edition of 7

VISION I

2006.

Aluminum and mirror steel.

40 x 28 x 28 cm

Edition of 7

GATE

2006

Cast iron and glass

40 x 35 x 40 cm

Edition of 7

ESSENCE

2009

Cast iron and glass

Height 180 cm

ESSENCE

2009

Cast iron and glass

Height 180 cm

ESSENCE (detail)

2009

Cast iron and glass

Height 180 cm

PROFILE

2008

Cast iron and glass

180 x 50 x 50 cm

GATE

2005

Cast iron and corten steel

260 x 220 x 40 cm

Private Collection in Seattle, USA

PRESENCE

2007

Cast iron and aluminum

Dimensions Variable

DAYS

2008

Cast iron and glass

Installation of 5 life size figures

Kathryn Hall Wineyards, Napa Valley, California, USA

FOCUS

2010

Cast iron and cast glass.

180 x 50 x 50 cm

LIGHTS

2009

Cast iron and glass

Installation of 5 life size figures

opna 17

ROUTE

2005

Aluminum and mirror steel

500 x 100 x 40 cm

The Commercial College of Iceland

VOYAGE

2005


620 x 50 x 50 cm

The Town of Vík, Iceland

VOYAGE

2005

Bronze and basalt stone

580 x 50 x 50 cm

The City of Hull, England

VOYAGE

2005


620 x 50 x 50 cm


WAVES

2010

Aluminum and stainless steel.

900 x 340 x 600 cm

The University of Aberdeen/ Marischal Museum

TABULA2010

Aluminum and stainless steel.

225 x 200 x 300 cm

Born in Iceland in 1955

Web site: www.steinunnth.com

Steinunn lives in Reykjavík, Iceland

EDUCATION

1974-75 Portsmouth College of Art & Design, Portsmouth, England

1976-79 Portsmouth Polytechnic, BA in Fine Arts, Portsmouth, England

1979-80 Accademia di Belle Arti, Bologna, Italy

PRIVATE EXHIBITIONS

1979 Gallery Su!urgata 7, Reykjavik

1982 The Reykjavík Art Museum

1982 Egilsbú!, Neskaupsta!

1984 Listmunahúsi!, Reykjavik



1992 Listmunahúsi!, Reykjavik

1993 Slunkaríki, Ísafir!i

1996 Kópavogur Art Museum, Kópavogur

1997 Akureyri Art Museum, Akureyri

1998 Galleri Krebsen, Copenhagen, Denmark

1998 Barbacka Konsthallen. Kristianstad, Sweden

1999 Ásmundarsalur, Reykjavik

2000 Ásmundarsafn Museum, Reykjavik

2000 Frauen Museum, Bonn, Germany

2000 The Nordic Council of Ministers Gallery, Copenhagen, Denmark

2001 Galleria Bedoli, Viadana, Italy

2001 Gallery Saevar Karl, Reykjavik

2002 Open House studio exhibition, Reykjavik

2003 The Goethe Institut, Toronto, Canada

2004 Hallgrímskirkja Summer Show in Reykjavik

2005 The Lab Gallery, New York, USA

2006 101 Gallery, Reykjavik

2006 Galerie Egelund, Copenhagen, Denmark

2006 Odon Wagner Contemporary, Toronto, Canada

2007 Osilas Gallery, Concordia College, NY, USA

2007 Horizons, Katonah Museum, NY, USA

2007 Kreft Center Art Gallery, Concordia University, Ann Arbor, Michigan, USA

2008 Horizons, The Dixon Museum and Gardens, Memphis, Tennessee, USA

2008 Horizons, San Antonio Botanical Gardens in collaboration w. Blue Star

Contemporary Art Center, San Antonio, Texas, USA

2008 Neskirkja church, Reykjavik, Iceland

2009 Horizons. Nathan Manilow Sculpture Park, Illinois, USA

2010 Horizons, Baker Center for the Arts, Pennsylvania, USA

2010 In Public, Lachaise Gallery, Cedar Crest College, Pennsylvania, USA

2011 Horizons, Georgia Art Museum, Athens, Georgia, USA

2011 Borders, Dag Hammarskjold Plaza, New York City, USA

GROUP EXHIBITIONS

1979 GALLERIA ZONA, Florence, Italy

1980 SCULPTORS´ ASSOCIATION, Reykjavik Arts Festival

1980 BODIES OF ARTISTS, Museum of Modern Art in Aalborg, Denmark

1981 TARGET-EARTH, THE ART OF SURVIVAL, Los Angeles, USA

1982 ASSOCIATION OF ICELANDIC ARTISTS, Akureyri

1983 YOUNG ARTISTS ´83, The Reykjavík Art Museum

1984 14 ARTISTS, Centenary of the National Gallery of Iceland

1985 GLASS FRAGMENTS, The Reykjavík Art Museum

1987 SCANDINAVIA TODAY, Kyoto & Tokyo, Japan

1988 “ “ New York, Cleveland & Alabama, USA

1988 5 DIMENSIONS, 5 ICELANDIC ARTISTS, Röhsska Museum, Gothenburg,

Sweden, The Nordic House in Faroe Islands

1988 HUMAN BEING IN THE FOREGROUND, The Reykjavík Art Museum

1989 12 ARTISTS, Hafnarborg

1991 RELIGIOUS ART, Ásmundarsalur

1991 ART FESTIVAL OF HAFNARFJÖR!UR

1992 MODERN SCULPTURE, Kringlan, Reykjavik Arts Festival

1992 NATIONAL ARTS FUND, Ásmundarsalur

1992 SALON INTERNATIONAL DE LA SCULPTURE CONTEMPORAINE,

Paris & Noisy-le-Grand, France

1993 ZEIT-SICHTEN, 6 WOMEN ARTISTS FROM REYKJAVIK, Frauen Museum,

Bonn, Germany

1993 777, DISTANCE COMMUNICATION NETWORK, Exhibition in 7 cities:

Reykjavik, Aarhus, Amsterdam, Portsmouth, Duisburg, Bratislava

& Moscow

STEINUNN THÓRARINSDÓTTIR

CURRICULUM VITAE

1994 SCULPTURE, SCULPTURE, SCULPTURE, The Reykjavík Art Museum. Art Festival

1994 Bankside Gallery, London, England

1995 EVENTA 2. International exhibition in Ekeby Qvarn Konstsalong,

Uppsala, Sweden

1996 NEW PURCHASES, The Reykjavík Art Museum

1997 BIENNALE CONTEMPORANEA, Palazzo Pubblico, Siena, Italy

1997 NEW CREATIONS. IDEAS FOR NEW CHURCHES. The Religious Art Festival

1997 UNIQUE GLASS, Kalmar, Sweden

1997 SU!URGATA 7, The Living Art Museum

1997 ICELANDIC ART, The Reykjavík Art Museum

1997 25TH ANNIVERSARY OF THE SCULPTORS´ ASSOCIATION

1998 THE COASTLINE, Outdoor exhibition, Reykjavik Arts Festival

1998 Wolfryd & Selway Fine Arts, Los Angeles, USA

1999 THE COASTLINE, Reykjavik

1999 Scandinavian Center, Lutheran University, USA

1999 SCULPTURE BY THE SEA, Sydney, Australia

2000 COLOGNE ART FAIR with the Frauen Museum, Germany

2000 Berkeley Square Gallery, London, England

2001 PALM BEACH ART FAIR with the Berkeley Square Gallery, USA

2001 ASAGO EXHIBITION OF MODELS, Japan

2001 TAJIMA ART EXHIBITION, Japan

2001 SCULPTURE BY THE SEA, Tasman Peninsula


2002 PURCHASES, The City Museum of Reykjavik

2002 SCULPTURE FROM THE SEA, Campelltown City Gallery, Sydney, Australia

2002 SCULPTURE FROM THE SEA, Waverley Council Gallery, Sydney, Australia

2002/2003 ICELANDIC ART 1980-2000, National Gallery of Iceland

2003 HALTESTELLE ! KUNST, Nurnberg, Germany

2003 THIS I WOULD LIKE TO SEE! Gerduberg Cultural Centre, Reykjavik

2003 TORONTO ART FAIR w/Odon Wagner Gallery, Toronto, Canada

2003 “KOLONIALEN”, Opening exhibition of The North Atlantic Bridge

in Copenhagen, Denmark

2003 “BUCKLE UP” Travelling exhibition, last stop The Reykjavik Art Museum

2004 ART MIAMI with Odon Wagner Gallery, Miami, USA

2004 ART COPENHAGEN with Galerie Egelund, Copenhagen, Denmark

2004 TORONTO ART FAIR w/Odon Wagner Gallery, Toronto, Canada

2004 ART PARIS w/Galerie Egelund, Paris, France


2005 ART MIAMI w/Odon Wagner Gallery, Miami, Florida

2005 SCULPTURE BY THE SEA, Cottesloe, Perth, Australia

2005 GLAMPI/BLITZ, Gallery Bluesky, Vienna, Austria

2005 Gallery Arena 53, Vienna, Austria

2005 TORONTO INTERNATIONAL ART FAIR, w. Odon Wagner Contemporary

2005 BEIJING BIENNALE, Beijing, China


2005 SAVE THE CHILDREN AUCTION, FESTIVAL OF TREES

2006 DOWNTOWN AT THE GARDENS w/Osborne Samuel, Palm Beach,

Florida, USA

2006 SCULPTURE BY THE SEA, Perth. Australia

2006 SPACE, ART AND THE ENVIRONMENT, University of Iceland

2006 HEADS, FIGURES AND IDEAS, Osborne Samuel, London, England

2006 SYDNEY HARBOUR SCULPTURE TRAIL, Sydney, Australia

2006 TORONTO INTERNATIONAL ART FAIR, Canada


2006 SELECTED ARTISTS IN GALERIE EGELUND, Copenhagen, Denmark

2006 ADVENT SHOW IN MEMORY OF HALLGRÍMUR PÉTURSSON, Hallgrims Church

2007 IN MEMORY OF HALLGRÍMUR PÉTURSSON, Saurbæjar Church

2007 PALM BEACH ART FAIR w. Osborne Samuel, USA

2007 FORM-LONDON, w. Osborne Samuel

2007 MIXED EXHIBITION, Osborne Samuel, London

2007 HALTESTELLE KUNST, Nurnberg, Germany

2007 ART ST. URBAN, ZOFINGEN, Switzerland

2007 GALERIE EGELUND, Copenhagen, Denmark

2007 TORONTO INTERNATIONAL ART FAIR w. Odon Wagner Contemporary


2008 SCULPTURE BY THE SEA, Perth, Australia

2008 THE SECRET GARDEN, Solomon Gallery@Iveagh, Dublin, Ireland

2008 TORONTO INTERNATIONAL ART FAIR w. Odon Wagner Contemporary


2009 SCULPTURE BY THE SEA, Århus, Denmark

2009 MODERN AND CONTEMPORARY ART, Osborne Samuel, London, England

2009 SUMMER SHOW, Galerie Egelund, Copenhagen, Denmark

2010 MIAMI INTERNATIONAL ART FAIR w. Osborne Samuel, USA

2010 PALM BEACH ART FAIR w. Osborne Samuel

2010 SAN FRANCISCO ART FAIR w. Scott White Contemporary, USA

2010 SCULPTURE AT PILANE, Sweden

2010 LONDON INTERNATIONAL FINE ART FAIR AT OLYMPIA w. Osborne Samuel

2010 FRESH FIGURES AND ABSTRACTION, Scott White Contemporary

2010 ART SAN DIEGO, Contemporary Art Fair w. Scott White Contemporary

2010 CONTEMPORARY ISTANBUL, w. HW13 Gallery, Istanbul, Turkey

2010 ART-MIAMI w. Scott White Contemporary, USA

2010 CHRISTMAS SHOW at Galerie Egelund, Copenhagen, Denmark

2011 LOS ANGELES ART SHOW w. Scott White Contemporary, USA

AWARDS

1981,1984, 1989, 1991 Three month state grant

1999 Two year state grant

1982 Travel Grant from Culture Fund

1986 Resident Artist of Reykjavik

1988 1st Prize in competition for monument in Ísafjör!ur Town Hall

1990 1st Prize in competition for altar piece in Kópavogur Church

1991 Grant from Culture Fund

1992 Grant from ADEC, Association Dialogue Entre le Culture, France

2002 Grant from the Icelandic Visual Art Copyright Association

2006 Travel Grant from Visual Art Copyright Association

2005 Travel Grant from Muggur

2006 Grant from The Foundation of Margrét Björgólfsdóttir

2006 Travel Grant from Muggur

2007 Grant from the Cultural Fund of the Reykjavik Savings Bank

2007 1st Prize in competition for artwork at Leifur Eiríksson International Airport

2009 Awarded the Order of the Falcon by the President of Iceland

2010 One year state grant from the Icelandic Government

WORKS IN PUBLIC PLACES:

Promote Iceland

City of Reykjavik

The Reykjavík Art Museum

National Gallery of Iceland

Icelandic National Radio, Akureyri

Kópavogur Arts Fund

Monument in Sandger!i

Monument in Grundarfjör!ur

Central Bank of Iceland

Ísafjör!ur Town Hall

Altar Piece in Kópavogur Church

State Accounts Office

Icelandic Monopoly in Spöngin

The Reykjavik Savings Bank

Town of Hafnarfjör!ur

Presidential Export Award, Fluglei!ir, Keflavik Airport

Akureyri Town Theatre

Icelandair Art Collection

Icelandic Freezing Plants

National Bank of Iceland

Icelandic Export Board

The College of Hamrahlí!

The College of Reykjavik

The College of Gardabaer

The College of Akureyri

The Award of the Icelandic Language Fund

Akureyri Art Museum

Europay Iceland

The Catholic Church

The City of Kristianstad, Sweden

The Royal Carribbean

Hall Financial Group, Texas, USA

Kathryn Hall Wineyards, California, USA

The Estate of Sir Rocco and Lady Forte, England

Collection of Carl XVI Gustav, the King of Sweden

American Seafoods, Seattle, USA

The State Hospital in Copenhagen, Denmark

The Icelandic College of Commerce

Alcan in Iceland

The City of Hull, England


F I H Bank, Denmark

Icebank

Glitnir Bank

Exista, Financial Services

Bakkavör Group

1919 Radisson SAS Hotel

101 Hotel

Leifur Eiríksson International Airport

The Danish Banker´s Association, Copenhagen, Denmark

The University of Aberdeen, Scotland

Elgiz Museum of Contemporary Art, Istanbul, Turkey

Works in private collections worldwide

PUBLICATIONS:

1983 Votre Beaute, article by Ester Henwood, France

1982 New York, article by Hans Frode, USA

1985 Iceland Review, article by A. Ingólfsson

1986 Neues Glass, Germany, article by A. Ingólfsson

1988 The Plain Dealer, article by Helen Cullinan, USA

1989 Architecture & Planning, article by A. Ingólfsson

1991 Atlantica, article by "orgeir Ólafsson

1991 Femina, article by Lena Rydin, Sweden

1998 UNT Kultur, Sweden

1998 Politiken, Denmark

1998 Norre Skaane, Sweden

1998 Kristianstadtsbladet, Sweden

1998 Femina, article by Marika Wachtmeister, Sweden

1999 Helsingin Sanomat, Finland

1999 Waverley Tribune, Sydney, Australia

2000 Metro, Berlinske Tidende, Denmark

2000 Island, Germany

2000 Kölner Stadt-Anzeiger, Germany

2000 The Art Newspaper, International Edition

2001 La Voce di Mantova, Italy

2001 Coevit, Italy

2001 The Sunday Telegraph, Australia

2001 The Australian, Australia

2001 The Daily Telegraph, Australia

2002 Sculpture, article by D. Donimick Lombardi, USA

2002 Hephaistos, Germany

2003 Aluminium International Today, United Kingdom

2003 The Spectator, U.K.

2003 Nürnberg, Germany

2003 Stadtanzeiger, Germany

2003 Nürnberger Nachricten, Germany

2003 Sonntagsblitz, Germany

2003 Sculpture Magazine, USA

2003 The Globe and Mail, Canada

2004 The Yorkshire Post, U.K.

2005 D´Art Magazine, article by D. Dominic Lombardi

2005 Dagbladet, Norway

2005 Stíll, magazine in Iceland

2006 Sk#, magazine in Iceland

2006 Hull Daily Mail, UK

2006 The Yorkshire Post, UK

2006 Hull in Print, UK

2006 Berlinske Tidende by Eva Paul, Denmark

2006 Jyllands-Posten, Dennmark

2006 Börsen, Denmark

2006 Globe and Mail, Canada

2006 Fálkinn, ICCT, Canada

2006 Virgin Blue Inflight Magazine, Australia.

2006 Lögberg Heimskringla, Canada

2006 Fálkinn, ICCT, Canada

2007 The Seattle Times Sunday Magazine, USA, July 8.

2007 The New York Times, Westchester Section, USA

2007 The Record Review, NY, USA, August 3, by Eve Marx

2007 Lewisboro Ledger, NY, USA, August 16

2007 The Ann Arbor Observer, Michigan, USA, September

2007 The Scarsdale Inquirer, NY, USA, September 14

2007 Northern Westchester Express, NY, USA, September 20

2007 Greenwich Time, Greenwich, Connecticut, USA, August 17

2008 Sculpture Magazine, USA, January/February

2008 The Times, England, 25 April

2008 Memphis Flyer, USA, July 17-23, by Carol Knowles.

2008 San Antonio Express-News, SA Life, USA, Sept. 14, by Dan R. Goddard

2008 San Antonio Current, Sept. USA, 10-16 September. By Johnston Farrow

2008 Exit Express, Spain, May Issue, by Glenn Harper

2008 The Private Jet Lifestyle Magazine, Elite Traveller, July/August

2009 Sculpture Magazine Jan/Feb issue, feature article by Jonathan Goodman

2009 Chicago Tribune, USA, July 3rd

2009 Examiner.com Sentinels of the Psyche by Jeff Stevenson

2010 The Gothenburg Post, Sweden. 16th of August. By Mikael Van Reis

2010 Fria Tidningan, Sweden. 29th of July. By Tobias Magnusson

2010 La V Magazine, 2nd Issue. France. Feature Article by Karina Vabson

2010 The Press and Journal, Scotland. November 4.

2010 Evening Express, UK. November 4.

2010 Sculpture Magazine, USA. November issue, Article by Victor Cassidy

2010 Omkonst. Sweden. June 7. Article by Jan Manker

2010 GT Expressen, Sweden. June 23. Article by Kajsa Widegren

Numerous newspaper articles and interviews on television and radio in Iceland

2008 Horizons, The Art of Steinunn Thórarinsdóttir. A documentary by

American filmmaker Frank Cantor

VARIOUS OCCUPATIONS

1985-87 Chairman of the Sculptors´ Association

1984-87 Teacher at the Icelandic College of Arts and Crafts

1988 Lectures at Cleveland State University and Cleveland Art

Institute, Cleveland, USA

1994-97 Member of the board of the National Gallery of Iceland

1989 Book Cover for Shinchosha Company, Japan

1998 Member of the Board of the Icelandic Association of Visual Artists

2001-03 Member of the Visual Art Committee of the Ministry of Culture,

Iceland

1999 Lecture at Sydney Art School, Sydney Australia

2001 Lecture at Sydney Art School, Sydney, Australia

2003 Lecture at The Sculpture Society of Canada, Toronto, Canada

2003 Lecture at The Goethe Institut, Toronto, Canada

2004 Lecture at “Sculpture in Public Space Symposium”, Art Gallery of New

South Wales, Sydney, Australia

2007 Lecture at Concordia University, Ann Arbor, Michigan, USA

2008 Lecture at San Antonio Botanical Gardens, Texas, USA

2009 Distinguished Lecturer at Governor´s State University, Illinois, USA

2009- Member of the Board of the International Sculpture Center, USA

2010 Artist´s talk at Cedar Crest College, Allentown, Pennsylvania, USA

2010 Artist´s talk at Muhlenberg College, Allentown, Pennsylvania, USA

2011 Lecture at Georgia Museum of Art, USA

STAGE AND COSTUME DESIGN:

1985 Reykjavíkursögur Ástu, The Basement Theater

1987 The Father, by Strindberg, City Theater, Reykjavik

1989 The Egg Theater

1990 Icelandic National Television

Horizons with visitors at the Katonah Museum

PHOTOTGRAPHS:

Arnaldur Halldórsson

Binni

Bragi Thór Jósepsson

Chris Lake

Eddi

Guenther Thoeny

Margaret Fox

Mike Boatman

Thórarinn Jón Magnússon

Thórir N. Kjartansson

GRAPHIC DESIGN:

Anna Björnsdóttir/[email protected]

Published and supported by Veronica and

Raymundo Del Castillo

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