The artwork is composed entirely of kaolin hand-extracted from the Bleikjuholt hillock in the valley of Mókollsdal á Ströndum, Þrúðardalur, known as one of the few, if only location for kaolin or porcelain clay in Iceland.
The area has, without doubt, been known since ancient times, and it is first mentioned in Ferðabók Eggerts og Bjarna in 1772. Between 1775 and 1785, the Danes studied the clay with the idea of using this domestic raw material for porcelain production, which had just begun at the royal porcelain factory in Copenhagen. A significant amount was sent to Denmark by ship, but it disappeared at sea, and so none of the clay was used in this process.
The inner structure is formed using unfiltered, wedged clay, while the exterior is built up with raw clay chunks in their natural state. These chunks are directly collected, selected on-site, and applied without any further processing. This approach ensures that the entire piece is made from a single material, preserving the kaolin’s inherent composition and structure.

The title of the work corresponds to the precise location where the clay was excavated.

Thanks to Thomas, Emma, Colette and Jore for coming along and for helping retrieve the clay.

The artwork is composed entirely of kaolin hand-extracted from the Bleikjuholt hillock in the valley of Mókollsdal á Ströndum, Þrúðardalur, known as one of the few, if only location for kaolin or porcelain clay in Iceland.
The area has, without doubt, been known since ancient times, and it is first mentioned in Ferðabók Eggerts og Bjarna in 1772. Between 1775 and 1785, the Danes studied the clay with the idea of using this domestic raw material for porcelain production, which had just begun at the royal porcelain factory in Copenhagen. A significant amount was sent to Denmark by ship, but it disappeared at sea, and so none of the clay was used in this process.
The inner structure is formed using unfiltered, wedged clay, while the exterior is built up with raw clay chunks in their natural state. These chunks are directly collected, selected on-site, and applied without any further processing. This approach ensures that the entire piece is made from a single material, preserving the kaolin’s inherent composition and structure.

The title of the work corresponds to the precise location where the clay was excavated.

Thanks to Thomas, Emma, Colette and Jore for coming along and for helping retrieve the clay.