My name is Anastína. I am an educated sculptor now about to presue an MA in performing arts the LHÍ, Reykjavik

I work multidisciplinary, my art practice unfolds at the intersection between sculpture, installation and performance.

My works reflect upon environmental matters with a main focus on water. Water takes both subject and material in most of my works.

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Fragile Trust is a sculpture dedicated to uncertainty. The sculpture stands as a testament to the intricate dance between strength and vulnerability, with its title in contradiction to its material. This sculpture portrays the paradox of an anchor, a symbol of something heavy and safe, fashioned from the ephemeral matieral ice.
The contradiction between the symbol of stability and the fragility of its material invites contemplation. It speaks to the precarious nature of trust – how something so essential, like an anchor, can be as transient as melting ice when placed in uncertain circumstances.
The sculpture serves as a reminder of the delicate balance required to maintain trust in relationships, be it between individuals, communities. Or in other words with nature. It prompts viewers to reflect on the strength found in vulnerability and the beauty that arises from embracing the fleeting moments of connection in an ever-changing world.

The performance piece Only the lost is eternally owned was a spontaneous endeavor. Inspired by my collection of seashells and shoreline finds, I utilized these elements along with other associated materials to craft a clothing collection. Reflecting on the process, I thought of how shells are a protective mechanism for mollusks, yet it is a threat to humans and our shores. I also drew parallels to the creation of pearls which are actually made from the oyester’s response to foreign particles. The oyester polishes the particles and produce scar tissue until they become pearls. This interaction between beauty and pain fascinated me. Thereof the title Only the lost is eternally owned, that refers to how we carry with us our traumas in our bodies. This conceptualization led to the creation of a performative fashion show aimed at showcasing
the resulting pieces.

‘No water -No champagne’ reiterates signifiers typically associated with the upper class of contemporary capitalist society. A 20 litre block of ice is suspended above the glass arrangement, ready to be melted and unevenly re-distributed throughout the hierarchical pyramid of stacked glasses.