Projects

Dráttir
An attempt not to write in brackets
Reyðarstrípur
To change what was intended
To contain the meaning when we destroy it separately
Brimgarður


Alda  Mohr Eyðunardóttir


Through a variety of media Alda Mohr Eyðunardóttir (b. 1997, Faroe Islands) explores themes of language, silence, and cultural heritage, weaving them together with recognisable materials such as wool, bronze, and film, relocating these objects in new contexts. She engages with the fluidity of meaning and history, recognizing how they continuously shape the present. As she always creates in Faroese, a minority language in most contexts, she works actively with the layered ways in which her work is interpreted, often through subtitles and translation. Drawing from feminist theory, craft traditions, and language, Eyðunardóttir examines how to create broader meanings through a personal lens.

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To contain the meaning when we destroy it separately 

Fence, wool, tracing paper, crackers, hay, and seaweed.
2023

Exhibited in the exhibition Concioues Threads at the North Atlantic House in Copenhagen in 2023. Curated by Mai Misfeldt.

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Mother’s hat, socks and yarn

Bronze.
2023

Exhibited in the exhibition Fog Swept Cargo at Scandinavia House in New York, USA in 2024. Curated by Kinna Polsen.


Solveig Hanusardóttir Olsen, art historian:

“Artist Alda Mohr Eyðunardóttir has a strong emotional attachment to wool, which she often uses in her practice. She is keenly interested in the origins of wool: it grows on sheep before we dress in their outer layers to keep warm. In addition to wool, Alda Mohr Eyðunardóttir uses materials such as sail twine, fishing gear, stones, fences and biscuits. For her, these materials anchor the artworks in her homeland, both symbolically and physically. Emotions and materials become interlinked and entangled, giving rise to artworks that are at one and the same time strongly material in scope and full of embedded narratives. Wool stands for care, family and home. One of the sculptures in the exhibition is a cast of a hat that the artist’ s mother knitted as a child. Another piece, a knitted sock cast in bronze, also points to the aforementioned historical trade and to the exhibition venue’ s history as a storage place for trade goods. The cast works are full of contrasts: here the soft, old, traditional material is cast in bronze, a hard and expensive material. The process of casting objects ensures that they are preserved for posterity, but any utility they used to have disappears. Function is left behind, but the story is retained. Alda Mohr Eyðunardóttir has also created an installation of fences and posts. In the Faroe Islands, infields are fenced to separate the sheep and divide up the land. Alda Mohr Eyðunardóttir’ s fence examines human traces in the landscape; the Faroese countryside is full of such traces in the form of cairns, stone houses, sheepfolds and enclosures. Furthermore, the fence is a symbol of a boundary or membrane between the inner and outer landscape, between the personal, intimate space.”

Link to catalog