Once questioned about his artwork, Kristján Guðmundsson, the artist, risponded that it belonged within a tension in the midst of being something and of being nothing.
I find myself comfortable in his answer.
Sometimes when I am drawing, I lay my palm flat on the paper, for a short while before beginning. Like that I feel that I create a warm connection with the dauntless of the surface, that is willing to receive the strokes. I try to enter the space with sincerity and equitably.
The surface on which the drawing rests is like a theater where it performes, takes its space and is allowed to come into its own. Surface is always a part of three dimensional objects, it allowes us to experience the material of the surface.
I feel comfortable with defining the surface as a space and to explore the line inside the two dimentional space of the surface. Studying the influence of the line on the space and the influcence of the space on the line, this affects how I experience my environment, the organic part of it, the manmade part of it, and the interaction between the both. How lines and space affect each other and how the space evolves. The space is important for me, it is the air/oxygen in the artwork. The drawing has to be able to breath like light with shadows and space with form.
The plaster is fragile and defenceless, loaded with sentiments and references. The white color is matt and cold but is defining the purity and the vulnerability. The vulnerable drawing can enjoys itself there. The surface and the infrastructure work well with me and I have a good feeling working with it.