Hér koma upplýsingar um Tinu og Birgi en þau munu sýna hjá okkur í sumar og sýningaropnun verður þann 11. júní kl. 13:00 og sýningin mun standa fram til 20. júlí. Opnunartíma Listaskálans verður hægt að sjá á facebooksíðu Brunirhorse og einnig á skilti upp við veg. Hendur okkar eru bundnar með að hafa opið þegar hestasýningar eru í gangi.
Born 1977 in Central Finland
Visual Artist, Art Teacher, Master’s Degree in Art Education
Currently living and working working as an artist and as an elementary school art teacher for the grades 7-9,
founding member and contact person of Laukaa taideateljeet originated in February of 2020 in Laukaa Finland.
Laukaan taideateljeet consists two 1920’s and 30’s buildings owned by the municipality of Laukaa, the buildings
are currently housing 14 artists studios and a catering service. My main focus has been in art education for the last
24 years but lately I have tried to find more and more time making my own art and advancing local art & culture
I work with oil paint, pigments, clay, recycled materials, fabrics, leather and natural materials food from forests. In
my art works the presence of the human appears between the scraped, charred and consumed layers of paint and
other materials. I am often inspired by Finnish language, nature, especially details and places which have no
special identity or value, lacking the grandiose meaning. The themes in my works vary often between Finnish
mythology, nature, landscapes, architecture, abandoned places and spaces constructed and often consumed by
humans. The human presence is often physically absent to the viewer: all that is left are shadow figures or sort of a
stain of a human even when it all seems natural or beautiful: all is modified, built, a bit broken or consumed. My
works are combinations of precisely chosen colors, oil colors of excellent quality, sometimes charcoal, graphite and
I have developed over many years a method of combining many thin layers of good quality oil paint on canvas with
some other materials, waiting them to dry and then finishing the work with sort of sgraffito or engraving technique
in order to get the kind of impression I need for my works. It is a painstaking process of adding and then removing
colors with surgical precision: one wrong move with the sharp blade and the canvas gets broken or too much color
is removed. There is no space for errors in the process.
My main work ”Hako” is one example of this difficult technique. I started ”Hako” in 2020 and took me 3 years to
finish it. Hako in Finnish language means coniferous branches or drifted coniferous branches by the lake shores or
at the bottom of a lake or a swap, usually hako is something that one has to clean away or remove to reach a
destination or a goal. Usually it has the meaning of useless branches: in the old days it was often used under the
animals or in front of house for wiping shoes. In my art work the branches are still attached to something, waiting
for the fall and the process of becoming ”the Hako”. I have literally spent countless hours in my studio in front of
this art work contemplating the pandemic and war time in Ukraine. For me the work is a symbol of a certain
peculiar period. In Finnish language ”hakoteillä” means being lost or going to the wrong way: it includes the word
”hako” in it, which makes it interesting combination of words and meanings.
2012 – 2013 Master’s thesis, realistic evaluation study: research on the development of landscape oriented educational
material for art education for elementary. school grades 1-9 and seniors on the tunnemaisema.f internet site
2010 – 2013 University of Lapland, Faculty of Art and Design, Art Education, Master’s degree in Art Education
2003 – 2004 Jyväskylä Polytechnics, School of Professional Teacher Education, Pedagogical Qualification for Teaching
2000 – 2001 Accademia di Belle Arti di Venezia (Exchange Student)
1997 – 2001 Lahti Polytechnics, Institute of Fine Arts
1993 – 1996 Savonlinna Art High School taidelukio (also matriculation examination)
2011 Social House, S-Group Jyväskylä, Finland. Commissioned art as constant part of the restaurant interior
2006 – 2007 Wayne’s Coffee, Jyväskylä, Finland, ”Seven” -exhibition
2006 Restaurant Prague, Jyväskylä Finland, ”Traveller’s Pictorial Memories” -photography exhibition.
1.1. – 31.1.2003 Main Library of Keuruu, Finland, ”La Serenissima 4347” -exhibition
1.8. -24.8.2003 Science Center Kammi, Jyväskylä, Finland, ”Happy End of the World 2(003)”
1.1. – 31.1.2002 Café Tante Molla, Stavanger, Norway, Painting exhibition
2001 Library of Vallila, Helsinki, Finland. ”Oat Bi Scuis” – Digital Comics Exhibition
2001 Aulagalleria, Institute of Fine Arts in ”Oat bi scuis” -exhibition
1999 Laukaa parish hall, Laukaa, Finland, Storckovius- family meeting, ”Paintings”
4.-5.9.2021 Konstrundan, Laukaan taideateljeet Artists, Laukaa, Finland. Konstrundan is juried, open studio event
4.5.-27.5.2012 Arktikum, Gallery Valo, Rovaniemi, Finland, ”JOTAIN – Some Things [ pitää olla ]”
10.5. -30.5.2001 Vuorelmankulma, Lahti, Finland, Institute of Fine Art (graduating year students exhibition)
1.3. – 31.3.2001 The Fiddler’s Elbow, Venezia, Italy, Printmaking Exhibition by Artists of the Venetian Fine Arts Academy
6.5. – 29.5.1999 Trio Hansa-Center, Lahti, Finland. ”Nuoret Narsissit”- Institute of Fine Arts (2nd year students exhibition)
2000 Häme-Gallery, Lahti, Finlad. ”Happy End of the World I” (with Slovenian artist Peter Mignozzi)
1996 Savonlinna Art High School Final Year Students Exhibition
Birgir Rafn Friðriksson
Birgir Rafn Friðriksson – BRF
For the past 13 years, Birgir Rafn has thematically been working within specific limits. With his theme, he questions the borders between a landscape or the natural space, and the fantasy realm. For Birgir Rafn, the question has to do with the trivial, yet odd visual event when a person perceives something as a landscape. Birgir Rafn considers the event of seeing as a happening, or an act, where the act of seeing in and of itself is layered, starting with a raw image that gradually becomes complete for the viewer through the coloured lenses of life experiences such as emotions, beliefs, view of the world, stress level, love, and even age. Therefore, Birgir Rafn considers the term “landscape” a highly personal experience, as different persons’ vision varies qualitatively and quantitatively. By imagining the steps of the act of seeing through those layers, Birgir Rafn leaves the work to be “finished” by the onlooker by sheer participation in seeing his creation and making up the final image.
These philosophical and theoretic terms make up the theme in Birgir Rafns’ works and are the main subject of his continuous exploration.
Birgir Rafns’ preferred mediums are painting and drawing. He explores his subject matters by using the technical aspects of the mediums with forms and symbols playfully to uncover meaningful moments within the landscape/fantasy borders.
Birgir Rafn is born 1973 in Akureyri, born and raised there. After finishing gymnasium he studied French and took art lessons in Aix-En-Provence in France in 1995. 1996-2001 he studied Fine art in Akureyri Visual School of Art. Then moving to Reykjavík where he ran his own studio and gallery for 2 years. In 2004-2009 he studied philosophy, aesthetics and art history Copenhagen’s University in Denmark. After moving to Iceland again he studied Art Teaching. He has since worked and lived with his family in Gardabaer, a town in the capital area.
Birgir Rafn taught painting and drawing for a decade, has held many private exhibitions, made many art projects, joined in on group exhibitions and curated. His studio is located in Gardabaer.
Background story of the exhibition Raja / Takmörk.
Birgir Rafn Friðriksson-BRF and Tiina Rauni have known each other since 1999, since Birgir Rafn got an Erasmus stipendium to study for half a year at Lahti Polytechnic School of Visual arts in Lahti in Finland. From day one it was quite clear that their approach to art is quite different. Nonetheless they became good friends. They found that the two nations, the Finns and the Icelanders, are not as far apart as people might think. The mentality, sense for dark humour and sarcasm, the dark depressing undertones of the people’s psyche, the harsh seasonal changes, their enthusiasm for drinking and celebrating life when those opportunities arise are more or less in harmony. The likeness is such that usually when people from several nations come together, the Finns and the Icelanders seem to be drawn to each other.
Through the years each of them have developed in their own way as artists. Then, some few years back, they realised that their individual artistic productions have a common axis point, namely in our conceptual positioning. They are both making work that they position somewhere on borders, on the inbetween, so to say. The images thus become somewhat a mixture of reality and fantasy or imagination, the animate and the inanimate, facts and lies, belief and certainty, something and nothing, and so on. The visual appreciation is therefore in a way supposed to lure the spectator in via the visually known, but as he lingers looking at the work he realises that there is something else, a way or an interpretation or means that so to speak contradicts his first impression, thus taking the onlooker on the adventure the work itself reveals.
The project or the show is getting works from Tiina and Birgir Rafn together in a show at BrunirHorse Gallery in Eyjafjörður in Iceland. That gallery is also borderline something else too, where we run a horse rental and a small restaurant. So the space and location fits the show perfectly. The aim is of course to put forth these “inbetween” works of these two different artists and strengthen the relationship between the countries, between these friendly cultures.