Solheimar is an Eco village located in the southwestern part of Iceland.
Founded by Sesselja Sigmundsdottir in 1930.
This remote community houses 100 people.
The village is home to many people with special needs and focuses on maximising the potential of each individual.
Also many volunteers from all over the world arrive and give their time to help the community.
Solheimar has established many workshops in the village that are closely connected and work with each other.
the main workshops are the Sunna (greenhouse),  the Olur (forestry), herbal soap factory, art workshop, wood workshop, weaving factory and the bakery.
The series of work portrays the bond between nature and the residents and aims to understand the basis of this community.
http://www.fercsik.com/solheimar

Interested in how news papers say many opposites between two pages and what happens to the space and your self when you use the paper on windows. 
Ive seen this many years ago, some where, a boarded up house and wrote in my note book to investigate and create something. It work well in the space I'm in, this is the side of the building that has wall paper peeling off the walls. 

Some of the areas created in the bar down stairs would work as still in a film (i can visualise something but too soon to tell what it is yet ) 

I was taken, personally by how Samara's statement reads, in part about  'the consumer experience from the touch to mastication to assimilate & finally dispersal'.

Its clear that the artist has thought about the space as it responds to corners and colours that are apparent in the room   and what isn't in the the text, which i like that it isn't (tho wonder why its not), is that the consumer world outside appears melted within the room, the muted colours on the windows all match the colour of the liquids and metals that have been put in the dug out holes.

Part of my own work last week took a turn when thinking of something Grayson Perry said which was 'People act like mirrors, being in a community, observing  and discussing difference and similarities, this reflection help us build up a sense of being."  

i remembered this when considering creating a really really gorgeous pistachio (Chartreuse) green table, a place one would want to sit and relax no matter of the surroundings, i thought about an unfinished project of mine and the bendy plastic i used.  

The table is for the 3d Sound recordings of discussions (about community centre/ environments/ and the art work itself in the room ). 
 seats and a table would be practical but it would also be good to think about the visitors and allow them to become part of the work.

this leads me to consider and argue and deconstruct things and look at other cultures beliefs - perhaps looking at the 'non self  from
Budisum - thinking about change and constantly things being renewed can bring a loss of identity  - its something think about further. A question perhaps for one of my recorded meals.  How do does community, being part of a group and a 'place' prove to be a negative ? when considering how people reflect who they are by being around others and when loss of self comes from experience and teaches us about the world. 

Samara's work above is reflective - so this is something to think about as it does the opposite of what i wish to create in general due to the place its exhibited in (making it industrial) and my own personal experience and silence with the work. The work was silent. 

In creating and designing new works I've starting to look at reapplying to AA2A and have access to university equipment. 

*
Chartreuse  is a color halfway between yellow and green that was named because of its resemblance to the green color of one of the French liqueurs called green chartreuse, introduced in 1764

theguardian.com/artanddesign/2015/mar/06/amount-of-money-that-art-sells-for-is-shocking-says-painter-gerhard-richter

Gerhard Richter, the world-famous German painter, has expressed his incredulity at the astronomical sums paid for his works, calling the art market “hopelessly excessive” and saying that prices are rarely a reflection on quality.

Richter, 83, told the German daily Die Zeit he had watched the outcome of a recent auction at Sotheby’s in London with horror after an anonymous buyer paid £30.4m (€41m, $46.5m) for his 1986 oil-on-canvas, Abstraktes Bild.

We artists get next to nothing from such an auction. Except for a small morsel, all the profit goes to the seller

Gerhard Richter

“The records keep being broken and every time my initial reaction is one of horror even if it’s actually welcome news. But there is something really shocking about the amount,” Richter said.

He said he believed people who paid so much money for his paintings were foolish and foresaw that prices for his art would crash “when the art market corrects itself”, as he was convinced it would.

Seen as the leader of the New EuropeanPainting movement which emerged in the second half of the 20th century, Richter made a name for himself with “photo-paintings” that replicate photographs and are then “blurred” with a squeegee or a brush.

The price paid for Abstraktes Bild amounted to a staggering 5,000-fold increase on the price he had originally sold it for, he said.

He told the weekly newspaper that he understood as much about the art market as he did “about Chinese or physics”, and said contrary to a common perception he hardly benefited at all from such sales.

“We artists get next to nothing from such an auction. Except for a small morsel, all the profit goes to the seller,” he said.

Gerhard Richter in front of one of his paintings at the Centre Pompidou, Paris, in June 2012. Photograph: Joel Saget/AFP/Getty Images

Richter said he was given the impression by gallery owners that he was inclined to undervalue his own work. Recently, having set the price of one of his photographs at €2,000, he said he was told by a gallery owner: “You can’t sell that for €2,000, it needs to be more like €10,000 or €20,000.”

He was relieved, he said, that he did not have much to do with the buying and selling process. “Luckily I can … shut my studio door on most of the discussion about the market and prices. I’m good at suppressing it,” he added.

He said that while it had been years since he had seen Abstraktes Bild – created by his trademark technique of building up paint and then pulling it away with a piece of wood – he remembered it being a “quite good” piece of art, in contrast to his painting Domplatz, Mailand (Cathedral Square, Milan) which last year fetched €29m at auction.

“I found that odd,” he said. “I don’t think the picture is that great … when I heard what it had gone for at auction, I thought ‘that’s completely over the top’.”

Richter, who was born in Dresden, said he was nonplussed as to how and why auctions had become so important. “It is really quite alarming, particularly when you take a look at the catalogues. They always send them to me and they get worse and worse. You cannot imagine what rubbish is offered, at prices that are rising all the time,” he said. He said that both “serious galleries” and young artists were suffering as a result.

“Many of the young artists go straight to auctions in order to earn the big bucks. So in contrast to the past artists cannot develop slowly. And the business is getting more anonymous. In the end it just comes down to the price.”

Richter fondly recalled the memory of selling Abstraktes Bild almost 30 years ago to a Cologne collector “for I think around 15,000 marks” (around €7,670). “I was very proud that it became part of his collection.”

No one who had bought his works in recent years, he said, had ever contacted him to show an interest in him or his work, implying that they were only interested in the work’s investment value. He confirmed that often his works were among those bought as safe, tax-free capital investments and stored in art bunkers in east Asia or Switzerland.

Richter said he had resigned himself to the fact that “hardly any one talks about art any more. Even in the arts pages of the broadsheets”.

He said he was virtually powerless to alter the prices of his works. Attempting to torpedo the high prices by offering new works at lower prices only backfired, he said. “I made 100 small original paintings and sold them very cheaply. They sold immediately and promptly ended up being sold at auction … you cannot escape the market.”

Richter said that an original work of art had barely any meaning for him and he had many reproductions hanging in his studio.

He praised an initiative offered at Tate Modern in London where he had an exhibition in 2011, in which his works were run off on a printer. “I found it terrific … they had an online printer that printed off loads of my pictures so that everyone could take one home with them.”

He admitted he never buys art himself. “I don’t spend money on art,” he said. “I like looking at paintings, but I go to a museum to do so. I don’t have to own art myself.”

We organised a crit with Silver Vine Artists & Residency volunteers  to discuss our projects- so much will change and develop over the weeks ahead!


Really really good to discuss our work - so so helpful- think i got somtehing from each discustion about each other work  ! Fascinating how our approach to each space and each nook and mark- the space is just too inspiring- seriously! 


notes :
-Thinking about seperate meals

-Stiner schools

- other comunity settings to discuss things

- moving studios nearer to the space

- be and play in the space more

- sound effecting other sounds

- the recordings flipping about to be in tge space then else where centralising visitors and playing with imagination

- different changing show in 10 days

- when community projects be come to business orientated due to funding body's

- creating the personal story s and political

- look at using areas of the film from 70s my dad was involved with and transferring an image on to wall tgat works in the space

- the layers tgat make up a community project and what the bennifit as when seen as a film - creation of music, group work, art, animation, etc etc anddocument of something from our past

- how I can see my dad influence in a film made before I was born - is it interesting athletically because it's a worn film with speakless or because it's personal?

- table no table?

- have just the sound of the meal I record (showed a practice pice made last night using zoom recorder and invited guests magic teapot and Dave frame)

- making meal last longer so people get using to recorder

- why did recoding sound better in a bag?