The artwork is composed entirely of clay hand-extracted from the geothermal area of Seltún, Krisuvik, an area known for bubbling mud pools and fumaroles with high sulphur content. The kaolinite clay mud pits are high in silica and alumina; some are stained red from iron oxide deposits in the clay. The blue clay mud pits are saturated with pyrite.
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 clay’s inherent composition and structure.

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

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

The artwork is composed entirely of clay hand-extracted from the geothermal area of Seltún, Krisuvik, an area known for bubbling mud pools and fumaroles with high sulphur content. The kaolinite clay mud pits are high in silica and alumina; some are stained red from iron oxide deposits in the clay. The blue clay mud pits are saturated with pyrite.
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 clay’s inherent composition and structure.

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

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