Mjúkir kallar II came together during the summer of 2026, shortly after I returned to Iceland from Bali. I spent the summer at my family home in Hörgársveit, where I set up a workspace in the garage and spent most of my time sketching, tufting and preparing for the exhibition. Alongside the rugs, the exhibition included a series of oil paintings I had made while living in Bali.

The kallar have been with me for many years now and are constantly changing and evolving. Since my previous exhibition, Mjúkir kallar, the figures have become more geometric, diverse and exaggerated, without that being a particularly conscious decision. They usually appear through the drawing process rather than from a specific idea. There is something intentionally playful about working this way. As we grow older, play often becomes something that needs a purpose or an explanation. I want to hold on to the opposite: making something intuitively, following what feels interesting, and allowing it to exist without needing to define exactly what it is.

Moving from drawings into textile has also become an important part of the work. The fabric adds softness and texture, and gives the figures a more physical presence. I’m drawn to the craftsmanship involved in making the rugs and to the slower, more tactile process of working with my hands.

Across both the paintings and textiles, the work is an ongoing exploration of these figures and the intuitive process through which they appear. I don’t know exactly where the kallar are going, and that uncertainty is part of what keeps me interested in them.