raymundo by Hvíta húsið

STEINUNN THÓRARINSDOTTIR

UNDER THE VOLCANO By Lilly Wei

Walking into Steinunn Thórarinsdóttir’s Reykjavík studio can be a little disconcerting 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 freestanding, 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 transformative, 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 nakedness of her forms seem clothed, chaste. Their faces are blank but in the subtly differentiated postures of the bodies, anguish, supplication, yearning, resignation, 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 extensively that in its final resolution and fabrication, it becomes an emblematic rather than a specific portrait.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

proximate, a microcosm of the human condition.

mirrors their surroundings, erasing the boundary between them, these buoyant, luminous bodies suggest rarified creatures of air and light fallen to earth,

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

a contrast between light and dark.

often held close to the body, hands clasped or pointing downward, outward, head tilted, turned aside, legs planted on the ground, deeply absorbed in

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

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

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

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

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

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

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

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

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

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

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

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

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, indicating 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 figuration 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, Thórarinsdóttir 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. Innovatively installed, with theatrical flair, they are sometimes presented as haunting

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

SHADOWS WORDS 2008 Aluminum 180 x 70 x 70 cm

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 Aluminum 200 x 300 x 30 cm

MOMENTUM

ECHO

2004

2006

Aluminum

Cast iron and aluminum

51 x 36 x 115 cm

Dimensions Variable

CONNECTION 2004 Anodized Aluminum 80 x 200 x 25 cm

POEM 1999 Cast iron and glass 35 x 100 x 12 cm

GATE

SITUATION I

SITUATION II

VISION I

2006

2005

2006.

Cast iron and glass

Aluminum and mirror steel.

40 x 35 x 40 cm

38 x 30 x 35 cm

38 x 30 x 30 cm

40 x 28 x 28 cm

Edition of 7

VISION II 2005 Cast iron and glass 38 x 52 x 37 cm Edition of 7

ESSENCE 2009 Cast iron and glass Height 180 cm

ESSENCE (detail) 2009 Cast iron and glass Height 180 cm

ESSENCE 2009 Cast iron and glass Height 180 cm

PROFILE 2008 Cast iron and glass 180 x 50 x 50 cm

GATE 2005

PRESENCE

Cast iron and corten steel

2007

260 x 220 x 40 cm Private Collection in Seattle, USA

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

ROUTE 2005 Aluminum and mirror steel 500 x 100 x 40 cm The Commercial College of Iceland

VOYAGE 2005 Bronze and basalt stone 580 x 50 x 50 cm The City of Hull, England

VOYAGE 2005 Aluminum and basalt stone 620 x 50 x 50 cm The Town of VĂk, Iceland

WAVES 2010 Aluminum and stainless steel. 900 x 340 x 600 cm The University of Aberdeen/ Marischal Museum

TABULA 2010 Aluminum and stainless steel. 225 x 200 x 300 cm

STEINUNN THÓRARINSDÓTTIR CURRICULUM VITAE

Born in Iceland in 1955

2007 Horizons, Katonah Museum, NY, USA

Web site: www.steinunnth.com

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

Steinunn lives in Reykjavík, Iceland

2008 Horizons, The Dixon Museum and Gardens, Memphis, Tennessee, USA 2008 Horizons, San Antonio Botanical Gardens in collaboration w. Blue Star

EDUCATION

Contemporary Art Center, San Antonio, Texas, USA 2008 Neskirkja church, Reykjavik, Iceland

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

2009 Horizons. Nathan Manilow Sculpture Park, Illinois, USA

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

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

1979-80 Accademia di Belle Arti, Bologna, Italy

2010 In Public, Lachaise Gallery, Cedar Crest College, Pennsylvania, USA 2011 Horizons, Georgia Art Museum, Athens, Georgia, USA

PRIVATE EXHIBITIONS

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

1979 Gallery Suðurgata 7, Reykjavik

GROUP EXHIBITIONS

1982 The Reykjavík Art Museum 1982 Egilsbúð, Neskaupstað 1984 Listmunahúsið, Reykjavik 1987 The Reykjavík Art Museum 1990 The Reykjavík Art Museum 1992 Listmunahúsið, Reykjavik 1993 Slunkaríki, Ísafirði 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

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 HAFNARFJÖRÐUR 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:

2006 Odon Wagner Contemporary, Toronto, Canada

Reykjavik, Aarhus, Amsterdam, Portsmouth, Duisburg, Bratislava

2007 Osilas Gallery, Concordia College, NY, USA

& Moscow

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

2006 TORONTO INTERNATIONAL ART FAIR , Canada

1994 Bankside Gallery, London, England

2006 SAVE THE CHILDREN AUCTION, FESTIVAL OF TREES

1995 EVENTA 2 . International exhibition in Ekeby Qvarn Konstsalong,

Uppsala, Sweden

2006 SELECTED ARTISTS IN GALERIE EGELUND , Copenhagen, Denmark 2006 ADVENT SHOW IN MEMORY OF HALLGRÍMUR PÉTURSSON, Hallgrims Church

WORKS IN PUBLIC PLACES: PUBLICATIONS: Promote Iceland City of Reykjavik

1983 Votre Beaute, article by Ester Henwood, France

The Reykjavík Art Museum

1982 New York, article by Hans Frode, USA

National Gallery of Iceland

1985 Iceland Review, article by A. Ingólfsson

Icelandic National Radio, Akureyri

1986 Neues Glass, Germany, article by A. Ingólfsson

Kópavogur Arts Fund

1988 The Plain Dealer, article by Helen Cullinan, USA

Monument in Sandgerði

1989 Architecture & Planning, article by A. Ingólfsson

1996 NEW PURCHASES , The Reykjavík Art Museum

2007 IN MEMORY OF HALLGRÍMUR PÉTURSSON , Saurbæjar Church

1997 BIENNALE CONTEMPORANEA , Palazzo Pubblico, Siena, Italy

2007 PALM BEACH ART FAIR w. Osborne Samuel, USA

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

2007 FORM-LONDON , w. Osborne Samuel

1997 UNIQUE GLASS , Kalmar, Sweden

2007 MIXED EXHIBITION , Osborne Samuel, London

1997 SUÐURGATA 7 , The Living Art Museum

2007 HALTESTELLE KUNST , Nurnberg, Germany

Monument in Grundarfjörður

1997 ICELANDIC ART , The Reykjavík Art Museum

2007 ART ST. URBAN, ZOFINGEN , Switzerland

1991 Atlantica, article by Þorgeir Ólafsson

Central Bank of Iceland

1997 25TH ANNIVERSARY OF THE SCULPTORS´ ASSOCIATION

2007 GALERIE EGELUND , Copenhagen, Denmark

1991 Femina, article by Lena Rydin, Sweden

Ísafjörður Town Hall

1998 THE COASTLINE , Outdoor exhibition, Reykjavik Arts Festival

1998 UNT Kultur, Sweden

2007 TORONTO INTERNATIONAL ART FAIR w. Odon Wagner Contemporary

Altar Piece in Kópavogur Church

1998 Wolfryd & Selway Fine Arts, Los Angeles, USA

2007 SAVE THE CHILDREN AUCTION, FESTIVAL OF TREES

State Accounts Office

1999 THE COASTLINE , Reykjavik

2008 SCULPTURE BY THE SEA , Perth, Australia

Icelandic Monopoly in Spöngin

1999 Scandinavian Center, Lutheran University, USA

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

The Reykjavik Savings Bank

1999 SCULPTURE BY THE SEA , Sydney, Australia

2008 TORONTO INTERNATIONAL ART FAIR w. Odon Wagner Contemporary

Town of Hafnarfjörður

2000 COLOGNE ART FAIR with the Frauen Museum, Germany

2008 SCULPTURE BY THE SEA , Sydney, Australia

2000 Berkeley Square Gallery, London, England

2009 SCULPTURE BY THE SEA , Århus, Denmark

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 2001 SCULPTURE BY THE SEA , Sydney, Australia 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

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

Akureyri Town Theatre Icelandair Art Collection Icelandic Freezing Plants National Bank of Iceland Icelandic Export Board The College of Hamrahlíð

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

The College of Reykjavik

2001 Coevit, Italy

The College of Gardabaer

2001 The Sunday Telegraph, Australia

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

The College of Akureyri

2001 The Australian, Australia

2010 FRESH FIGURES AND ABSTRACTION , Scott White Contemporary

The Award of the Icelandic Language Fund

2001 The Daily Telegraph, Australia

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

Akureyri Art Museum

2002 Sculpture, article by D. Donimick Lombardi, USA

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

Europay Iceland

2002 Hephaistos, Germany

2010 ART-MIAMI w. Scott White Contemporary, USA

The Catholic Church

2003 Aluminium International Today, United Kingdom

2010 CHRISTMAS SHOW at Galerie Egelund, Copenhagen, Denmark

The City of Kristianstad, Sweden

2003 The Spectator, U.K.

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

The Royal Carribbean

2003 Nürnberg, Germany

Hall Financial Group, Texas, USA

2003 Stadtanzeiger, Germany

Kathryn Hall Wineyards, California, USA

2003 Nürnberger Nachricten, Germany

The Estate of Sir Rocco and Lady Forte, England

2003 Sonntagsblitz, Germany

Collection of Carl XVI Gustav, the King of Sweden

2003 Sculpture Magazine, USA 2003 The Globe and Mail, Canada

AWARDS

2004 ART COPENHAGEN with Galerie Egelund, Copenhagen, Denmark 2004 TORONTO ART FAIR w/Odon Wagner Gallery, Toronto, Canada

1981,1984, 1989, 1991 Three month state grant

American Seafoods, Seattle, USA

2004 ART PARIS w/Galerie Egelund, Paris, France

1999 Two year state grant

The State Hospital in Copenhagen, Denmark

2004 SCULPTURE BY THE SEA , Sydney, Australia

1982 Travel Grant from Culture Fund

The Icelandic College of Commerce

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

1986 Resident Artist of Reykjavik

Alcan in Iceland

2005 SCULPTURE BY THE SEA , Cottesloe, Perth, Australia

1988 1st Prize in competition for monument in Ísafjörður Town Hall

The City of Hull, England

2005 GLAMPI/BLITZ , Gallery Bluesky, Vienna, Austria

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

The Town of Vík, Iceland

2005 Gallery Arena 53, Vienna, Austria

1991 Grant from Culture Fund

F I H Bank, Denmark

2005 TORONTO INTERNATIONAL ART FAIR, w. Odon Wagner Contemporary

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

2005 BEIJING BIENNALE , Beijing, China

2002 Grant from the Icelandic Visual Art Copyright Association

2005 SCULPTURE BY THE SEA , Sydney, Australia

2006 Travel Grant from Visual Art Copyright Association

2005 SAVE THE CHILDREN AUCTION, FESTIVAL OF TREES

2005 Travel Grant from Muggur

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

2006 Grant from The Foundation of Margrét Björgólfsdóttir

Florida, USA

1998 Norre Skaane, Sweden

2010 SCULPTURE AT PILANE , Sweden

2003 “BUCKLE UP” Travelling exhibition, last stop The Reykjavik Art Museum 2004 ART MIAMI with Odon Wagner Gallery, Miami, USA

Presidential Export Award, Flugleiðir, Keflavik Airport

1998 Politiken, Denmark

2006 Travel Grant from Muggur

Icebank Glitnir Bank Exista, Financial Services Bakkavör Group 1919 Radisson SAS Hotel 101 Hotel Leifur Eiríksson International Airport

2004 The Yorkshire Post, U.K. 2005 D´Art Magazine, article by D. Dominic Lombardi 2005 Dagbladet, Norway 2005 Stíll, magazine in Iceland 2006 Ský, 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 SCULPTURE BY THE SEA , Perth. Australia

2007 Grant from the Cultural Fund of the Reykjavik Savings Bank

The Danish Banker´s Association, Copenhagen, Denmark

2006 Fálkinn, ICCT, Canada

2006 SPACE, ART AND THE ENVIRONMENT , University of Iceland

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

The University of Aberdeen, Scotland

2006 Virgin Blue Inflight Magazine, Australia.

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

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

Elgiz Museum of Contemporary Art, Istanbul, Turkey

2006 Lögberg Heimskringla, Canada

2006 SYDNEY HARBOUR SCULPTURE TRAIL , Sydney, Australia

2010 One year state grant from the Icelandic Government

Works in private collections worldwide

2006 Fálkinn, ICCT, Canada

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

2011 Lecture at Georgia Museum of Art, USA

2007 The New York Times, Westchester Section, USA

STAGE AND COSTUME DESIGN:

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

1985 Reykjavíkursögur Ástu, The Basement Theater 1987 The Father, by Strindberg, City Theater, Reykjavik 1989 The Egg Theater 1990 Icelandic National Television

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 3 rd 2009 Examiner.com Sentinels of the Psyche by Jeff Stevenson 2010 The Gothenburg Post, Sweden. 16 th of August. By Mikael Van Reis 2010 Fria Tidningan, Sweden. 29 th 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

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/ad@centrum.is

Published and supported by Veronica and Raymundo Del Castillo