On Monday May 11th—day 3 at the Westfjords Residency— I read in the New York Times that the Obama Administration had granted Shell conditional approval to drill for oil and natural gas off the Alaskan coast.
My theme is how to identify the architecture by fundamental manipulation. In other words, my design method is a kind of translation and to extract a specific essence to define the value of contemporary architecture.
During my time at the Westfjords Residency, I investigated Thingeyri's awe inspiring landscape through idiosyncratic physical interactions: I wanted to learn of the land through the body. I was struck by how often the environment looks animal-like.
I’m a visual artist whose ethnobotanical works on paper are inspired by the natural history explorers of bygone days. The 10 day Westfjords Residency gave me the opportunity to explore and record the plants and the
I heard about the Westfjords Residency on a facebook page. I had been looking for a place from which to form a new sound project, and thought that this residency could be just it.
In the lighttime, the wave is broken in the seashine. That wave is broken on the shoreline, looking out when the light is hard to see when the light is hardly seen.