Vinsamlegast notið þetta auðkenni þegar þið vitnið til verksins eða tengið í það: http://hdl.handle.net/1946/42361
This essay will discuss my art from recent years and establish a context for the work process and methods. A prologue introduces elements from childhood that offer context that is further built upon in the following chapters. The first chapter explores the term Post-Internet and artistic practice in relation to its history, concept and ideas, its context examined through writings from critics and artists that attempt to analyse the changes in artistic approaches in the last decades—using references from Gene Mchugh, Jennifer Chan, and artists Ian Wallace, Katja Novitskova and Marisa Olson. The second chapter dives into the realm of the grotesque. What is grotesque? What is its importance, and how does it appear in my work? The art of Théodore Géricault and Otto Dix are taken as examples of art that utilises the effect of grotesque as artistic means. The chapter establishes the embrace of grotesque aesthetic as a sociopolitical act, referencing the writing of Frances S. Connelly and Remi Astruc. The third chapter brings together methods of obsessive research and how that reflects in the art-making. The chapter also discusses the artist's role, and the desensitisation of the west to certain forms of suffering —reflected through the writing of Susan Sontag, Jacques Rancière, Bertold Brecht and George Orwell. Two recent artworks are prominent examples of the creation process: the stop-motion short film Hunger and Son of the Sands solo exhibition. Both works centre on how the construction of otherness through mythologisation is political, situating the work processes as research and translation of various cultural elements addressing essential realities. The works investigate the shared iconography embedded in our present and process through the transformation of the grotesque and the artist's craftsmanship.