I am fascinated with space, time and numbers. I draw black accumulations of quickly executed idiosyncratic circles, Forming abstract compositions. These repetitive, Meticulous and time-based works are all attempts to visualize epic numbers of macrocosmic and microcosmic entities. The amalgamations of hundreds of thousands of circles in varying densities begin to resemble pocket universes, each a relic of an arduous performance of repeated gestures.

My current work reflects the trend of Psychogeography and the Derive. This is more by reaction and intention. Psychogeography is the study of geographical settings, consciously managed or not, acting directly on the mood and behavior of the individual. Psychogeometry research is carried through nonscientific methods such as the derive, aimless drifting through the city trying to record emotions given by a particular place and mental mapping; the production of mood based maps. I use no reference material, as the work is done entirely from memory. I want to work to retain a visionary edge.

I tell stories about women, finding inspiration in paintings, photographs, magazines, posters, YouTube clips, literature, performance, and plays. My paintings are like episodes in an unconventional romantic comedy, with myself cast as the heroine, writer, and director. The scenes depict my fantasies and secret desires. They explore the act of watching and being watched and blur fiction and reality.

I am interestd in the irony of creating a deep space and/or a monumental scale within a very small area. This paradox of a diminutive realm encourages the viewer to leave the everyday world behind. The figurative image illustrate power and relationships within the world of particular painting. To keep the diminutive scenes open for the viewer to "enter," the figures don't occupy the space, but appear in pictures on the walls, floors, or tabletops. These images of figures are in dialogue with the domestic interiors they inhabit, each adding to the story of the other.

Exuding impulsive energy, my paintings are made in a highly intuitive idiosyncratic manner. With obscure darkness working just beneath the surface, these mad saturated surreal color field-like experiments permeate bearded membranes, encrypted anthropomorphic mythical creatures, and biomorphic poisonous blossoms.

I’m very interested in frameworks. A good framework will focus the painting process in one way, but will allow me to explore in many other ways. The “Mounts” series seem restricted to a specific matter, but are actually products of a very elastic framework. The Mounts are earthwork structures unknown origin, and unknown, but undeniable, purpose. They could be monuments; they could be memorials. They could be of human or alien or supernatural origin.

I grew up in Iceland without the influence of mass media. I was twenty years old when I saw television for the first time. To feed my mind I read books, any book I could lay my hands on. There was one radio station. It was a good station. It had everything: novels, the world news, plays, poetry, Sunday sermons, music, concerts, all taken in by the ear. Reading books and listening to the radio got me into the habit of making up my own visuals. Every voice, every story, every place or sound I heard or read about had an image created in my head.

Growing up surrounded by textiles, I learned the principles of design by escaping into and under my mother’s sewing shop–the kitchen table. I took shelter underneath the jungle of prints and weaves. This early foundation of line, pattern, and figure/ground relationships merges with my recollections of travel through coastal terrain. Traces of my past are interwoven from the tabletop of textile memories to the verdant countryside of my childhood home. The forestry of tall stripes harmonizes with my investigation of intricate topographies.

How our contemporary social landscape is shaped is the subject of several series of paintings and drawings that I group under the title Social Fabrics. Our shared use of prevalent systems of representation, an important and always evolving part of the social dynamic, works as well to fix and limit our perceptions of ourselves. My re-arrangements of these forms question their function and authority as a means to elicit or suggest their inherent agency.

I am inspired by isolation and nature. My work draws on memories of growing up in a rural Indiana, my personal folklore, and the odd, unglamorous sensuality of country life. I am interested in sensationalizing almost embarrassing romantic scenes of naïve sexuality emotion, and sentimentality. I consider my drawings as modern, old-timey images that pull from antique American mass-produced prints, postcards, and magazine illustrations. I want my work to be viewed in this way, like they could be sent in the mail, collected, and traded.