About
Björk’s upbringing in Iceland and exposure to the extraordinary in nature has always been a reference point for her work. Her professional background in Architecture is also an influence, making her work unequivocally architectural.
Björk’s pots are a conversation between the pseudo -perfection of geometric pattern and the tactile impurity of hand-manipulated clay. She often deliberately creates warped planes through the careful pattern cutting and jointing of would-be flat slabs so that they become intentionally and subtly off-kilter.
Björk’s work is defined by the interaction of these very distinct attributes of form and pattern. The basic premise of ‘draped’ pattern over three-dimensional form is straightforward but the range of expression it allows is vast. Her decorative process suits monochrome and the limited palette seems to strike the right balance between form and pattern.
