1

Mireya Samper Mars 2012 tgefandi: Jn Garar gmundsson Hnnun: Dilj rhallsdttir / Plnetan / Mireya Prentun: Gujn 2012 Mireya

endanleikinn formgerur
Verki sem Mireya Samper geri fyrir sninguna Myth of Modern Times Chile ri 2000 er lsandi fyrir vifangsefni hennar og aferir. Hvtir bmullarrenningar hanga lofti rmisins og mynda spral sem gestir geta gengi inn , allt a miju verksins ar sem eir standa umluktir hvtu undir sterkum ljskastara. Renningarnir eru aktir akrlplastlagi, eir ystu algerlega, san minna og minna mli eftir v sem innar dregur. Plastefni tknar umheiminn og mengun hans, fer gesta spralnum er feralag eirra a eigin kjarna, hreinleikanum innra me eim. arna mtast v umhverssjnarmi og andleg leit sterkri og einfaldri innsetningu. Mireya vinnur margs konar efni, sem rast af eirri hugmynd sem au jna og af ytri astum. annig hefur hn unni margar site specic innsetningar vs vegar um heiminn, til a mynda verk r akrl og kryddi sem tengist Khasi trarbrgunum Indlandi, silfurlitan bambusskg og jtandi lauftr Japan, endanleikamerki r pappr skgi Lithen, litaan sand vi hof eyju suur Frakklandi, innsetningu r blmum, lifandi ljsi og lituu vatni gmlu fangelsi Mauritius, og tilhggvi sjvargrjt Drangsnesi og Gari slandi. A baki essum verkum liggur skr hugmyndavinna sem tfrist san stamiaan efnivi. teikningum Mireyu birtist oft sjlfsprottnari tjning ar sem listakonan vinnur innsi og i. ll eiga essi verk sameiginleg viss emu og minni sem ganga eins og rauur rur gegnum skpun hennar. Vikvmni og gagnsi einkenna mrg verka Mireyu og einkum Samruna syrpuna, ar sem tv papprsverk eru lg saman. eru essar innsetningar alltaf sterkar, hvernig hn rammar myndirnar inn og fyllir rmi, hvernig hn fangar athygli horfandans og leiir hann a verkinu og jafnvel inn a, lkt og Samryskju spralnum sem hn vann fyrir sningu sna Gerarsafni 1999. Mireya notai lka essa afer Manasthithi: Hugarstand, sem hn sndi Indlandi ri 2003. Listakonan leikur sr gjarnan a v a fra til vitekin landamri milli mlverks og hggmyndar, tv- og rvra verka. Einn af sklptrum hennar er aeins nokkurra millimetra ykkur mean mlverkin eru oft ger pappr sem hefur vissa ykkt og lifandi yrbor, eru rmmu inn allt a 10 cm ykka ramma sem hanga rminu og sem er hgt a ganga kringum eins og sklptr, ea standa hreinlega glnu. Gagnsi leyr lka rminu a jta og gerir skilin milli mismundandi verka ljs. Mireya segist vilja tj samruna ytri og innri heima. sama htt og maurinn er hluti af alheimnum og br um lei yr eigin innra l eru verk Mireyu hluti af umhvernu, af landfrilegu, jflagslegu og menningarlegu samhengi og hafa um lei sna eigin tjningu, blbrigi og srkenni. Mireyu er annt um nttruna og ltur sig umhversml vara, eins og birtist fnlegan htt mrgum verkum. Hn ltur sig einnig manninn og rlg hans skipta, eins og sst vel verkum sem hn hefur unni tveimur fyrrverandi fangelsum, Chile og Mauritius. ar hafa verk hennar eins konar heilandi hrif, minningu jningar og viringu fyrir lnu. Vatn er Mireyu hugleiki margs konar formi. Hn hefur sett lita vatn glra plastpoka, sem tkn fyrir glei og lfskraft. Dropaformi birtist msum myndum: Hggvi steina, sem jtandi sklptr ea hangandi karfa fyrir blm minningu fanga. Fyrir Mireyu tengist etta form fyrst og fremst trum, essum afkvmum hugrenninga. Vatnsdropar tengjast lka tmanum og hinu endanlega. sningu sinni Vatnsheimar Reykjavk ri 2005 sndi hn str papprsverk samt marmarasklptr ar sem tveir dropar umluktir vatni mynda endanleikaformi . endanleikinn er birting alheimsins og verk Mireyu hvetja flk til hugunar og innri skounar, jafnframt v a tengjast ytri heimum og hinu kosmska. innsetningu sinni Frioul eyju Frakklandi notai hn tthyrningsformi, en a var til staar gmlum sptalabyggingum stanum, sem tilvsun alheiminn og forna gemetrska speki. Andleg vsun verkanna skir ekki ein trarbrg fram yr nnur og teikningasyrpan Bn sr innblstur hugleislu og bn mannkyns, h sta og tr. Mireya notar ljs ea tilvsun a sem tkn um okkar innra sjlf, um eitthva ra, um fri og alheimsleg gildi. a er oft tkna me silfurlit, steini, tr, laufum ea pappr. Hr er v aallega um tunglsljs a ra, hina kvenlegu birtu ntur sem hvlir, grir og undirbr fyrir komu dags og slar. Verk Mireyu hvetja okkur til a tengjast okkur sjlfum og um lei a opna okkur gagnvart umhvernu, nttrunni og hinu heilaga sem llu br. sds lafsdttir, listfringur

Innity made visible

Mireya Sampers work for the exhibition Myth of Modern Times in Chile in 2000 is characteristic of her subjects and methods. White cotton strips hang from the ceiling, forming a spiral that visitors can walk into, leading them to the middle of the work where they are surrounded by white under a strong light. The strips are covered with acrylic plastic layer, the outer ones completely, then less and less as you go further in. The plastic represents the outside world and its pollution; the guests path in the spiral is a journey towards their own essence, the purity within them. This is where environmental concern and spiritual quest come together in a powerful and simple installation. Mireya works in a variety of materials depending on the idea that they serve and external circumstances. She has created numerous site-specic installations around the world, such as pieces of acrylic and spices associated with the Khasi religion in India, a silver bamboo forest and oating leaves in Japan, the innity sign in paper in a Lithuanian forest, coloured sand beside a temple on an island in Southern France, an installation of owers, living light and coloured water in an old jail in Mauritius, and sculpted sea stones in Drangsnes and Garur in Iceland. Behind these works lies a clear concept developed in local materials. Sampers drawings are often more spontaneous, executed with intuition, in ow. All these works have in common certain themes that run like recurrent threads throughout her uvre. Delicacy and transparency characterize many of Mireya Sampers works, especially the Fusion series, where two pieces of paper are superimposed. Yet there is great strength in these installations, in her way of framing the pieces and occupying the space, capturing the viewers attention and leading him towards, and sometimes into, the work. Good examples of this is the Samryskja spiral she did for her solo exhibition in Kpavogur Art Museum in Iceland in 1999 and her exhibition Manasthithi: A State of Mind in India in 2003. The artist delights in dissolving and shifting accepted boundaries between painting and sculpture, twodimensional and three-dimensional works. One of her sculptures is only a few centimetres thick, while her paintings are frequently made on paper that has a certain thickness and a living surface, in up to 10 cm thick frames that hang in the space and can be moved around like a sculpture, or simply stand on the oor. Transparency also lets the space ow and blurs the line between the different pieces. Mireya Samper has said that she wants to express the fusion of the outer and the inner world. Just as man is part of the great universe and at the same time owns his inner, personal life, Mireyas works are parts of the environment, of a geographical, social and cultural context, and at the same time have their intimate expression, their nuances and character. Mireya Samper cares about nature and is environmentally minded, as is subtly evident in many of her works. She also cares about man and his fate, as can be seen in pieces she has produced in two former prisons in Chile and Mauritius. There, her works have a kind of healing effect, in memory of suffering and in respect for life. Water, in various forms, is one of Mireyas favorite subjects. She has put coloured water in clear plastic bags, as a symbol of joy and vitality. The drop form appears in various ways: carved in rocks, as oating sculptures or hanging baskets of owers in memory of prisoners. For Mireya this form is mainly associated with tears, these offsprings of thoughts. Water drops also relate to time and the innite. In her exhibition Water Worlds in Reykjavik in 2005 she showed big paper works with a marble sculpture in which two drops surrounded by water generate the the symbol for innity . Innity is a representation of the universe and Mireyas works exhort us to meditation and internal inspection, while being related at the same time to the outer world and the cosmic. In her installation on Frioul Island in France she used the octagon present in old hospital buildings on the site as a reference to the universe and to ancient geometric science. The spiritual reference in her works is not associated with any one religion in particular, and her series of drawings Prayer seeks inspiration in mankinds meditation and hopes, irrespective of place and faith. Mireya uses light or a reference to it as a symbol of our inner self, of something higher, of peace and universal value. It is often represented by silver, on stone, wood, leaves or paper. This light is that of the moon, the feminine light of night that rests, heals and prepares for the arrival of dawn and the sun. Mireya Sampers works encourage us to connect to ourselves and at the same time to open up towards the environment, nature and the sacred in all. sds lafsdttir, art historian

Bn
Reykjavk, sland 2008.

Prayer

Kol og pigment pappr 20 x 20 cm. Charcole and pigments on paper.

Olukrt og blek striga 35 x 35 cm. Ink and oilpastel on canvas.

Vatnsheimar
Reykjavk, sland 2005.

Waterworlds

Vatnsheimar
Aldrei hef g s vatn hallast upp a vegg. Olukrt vax gler og jrn gera gfumuninn vatni yrvinnur nttrulgmlin. m lka skynja a foss brim dalala frostklr og oka eru hugmyndir okkar allra.

Waterworlds
Never knew water to lean against a wall. Pastel wax glass and iron make the decisive diffence water wins over the laws of nature. You can also sense how waterfalls surf morning mist frost claws and fog are images in all our minds.

endanleiki
... og endalausri hringrs sem hendur hafa greypt marmara vatni sytrandi allt ar til eldgmul slin enst t ofsafengnu bli verur a hvtum dverg og hringoku eftir fjra milljara ra.

Innity
... and in the unending cycle that hands have chiseled in marble the water seeping until the primeval sun explodes in frenzied ame turning into a white dwarf and nebula some four billion years on.

Lj/Poems: Ari Trausti Gumundsson.

Blndu tkni pappr 1,85 x 1,05 m. Mixed media on paper. Innity, marmari og vatn 0,28 x 0,65 x 0,80 m. Marble and water.

Blndu tkni pappr 0,65 x 1,85 m. Mixed media on paper.

Blndu tkni pappr 1,85 x 1,05 m. Mixed media on paper.

10

11

Blndu tkni pappr 1,85 x 0,65 m. Mixed media on paper.

12

13

Divali in Prison
Port Luis, Mauritius 2008

Plast, vatn og blek 0,65 x 0,70 x 4,50 m. Plastic, water and ink.

14

15

n titils

Abiko, Japan 2000. Bambus lauf silfru kallast vi tungli, auga skginn birtu laa vegfarendur til tttku auga skginn l laa vegfarendur til silfurs auga hugsun manna.

No title
Silvered bamboo leaves echo the moon, enrich forest light attract pedestrians to participate enrich the forest lives attract pedestrians to the silver enrich people's thinking.

Bambus og lakk 270 m2. Bamboo and lack.

16

17

Bambus og lakk 270 m2. Bamboo and lack.

Bambus og lakk 270 m2. Bamboo and lack.

18

19

9/7 Khasi
Shillong, Meghalaya, India 1999.

Innsetning tveimur hlutum, 9/7, Khasi; akrl, krydd, bambus, 7,50 x 1,10 x 0,60 m. Ofgntt, akrl, pappr, litir, 1,60 x 0,30 x 0,02 m. Installation in two parts, 9/7, Khasi; acryl, spices, bamboos. The too much, acryl, paper, colors.

20

21

22

23

Samryskja
Gerasafn, Kpavogur, sland 1999.

Fusion

Samryskja 2, jrn, gler, l, akrl, blek, 2,40 x 1,26 x 0,95 m. Fusion 2, iron, glass, aluminum, acryl, ink.

Samryskja 1, jrn, pappr, akrl, blek, 3,5 x 12 m. Fusion 1, iron, paper, acryl, ink.

24

25

Samruni
Samruni ytri og innri heima. a er bi sjnrnn og efnislegur samruni verkinu sjlfu hver mynd er einungis til gegnum ara ea yr henni. Sambland mismunandi heima er innblstur essa verks. Kveikjan a v er bi stri alheimurinn og heimurinn sem br innra me okkur...

Fusion
Fusion of the external and the inner universe. At the same time, there is a visual and a material fusion in the work itself each painting will only exist through or covering the other. Blending of the universes is the inspiration of this work. They are inspired from the big universe out there and the universe within ourselves...

Samruni, blndu tkni pappr 30 x 15 cm. Fusion, mixed media on paper.

26

27

Manasthithi: Hugarstand
Innsetning tveimur hlutum. Mumbai, Indland 2003 Titillinn sjlfur ber ema sningarinnar. Hugarstand er -efnislegt stand sem hvert og eitt okkar er ea hefur vali sr a vera . Verldin ll er undir hrifum essara mismunandi hugarstanda... Til gs ea ills. ar sem etta er -efnislegt stand, nota g verkunum ltt og stundum gegns efni, myndirnar eru einskonar samruni; samruni tveggja mynda einum ramma. a er a segja hver mynd er ekki til n hinnar. Maur mun vallt sj eithva af hinni myndinni gegn, sem skrskotar til eirrar stareyndar a ll erum vi undir hrifum annars flks hugarstands, jafnvel er vi reynum a vera a ekki. Samruninn er jafnt efnislegur og andlegur. Myndirnar eru mrkum ess a vera anna hvort tvvar og rvar. Hinn hluti innsetningarinnar er efnisleg framlenging myndanna, ar sem enn er unni me gegnsi og smu liti, oftast Sindour, me rum mili jtandi og reglulega stillt upp. Hugarstand tti aldrei a vera svegjanlegt ea dmandi.

Manasthithi: A State of Mind

is made of one installation in two parts. The title of the exhibition embraces the theme of the whole show. A state of mind is the non-physical condition each and every one of us is in or has chosen to be in. The whole world is affected by different states of minds... for the good or for the bad. As it is a non-physical state, in my work I go for light and sometimes transparent materials. In the rst part of the installation the pictures are a kind of a fusion, a fusion of two pictures in one frame. That is, one picture does not exist without the other. One will always see some of the other picture through, which relates to the fact that we are all inuenced by other peoples state of mind, even though we try not to. The fusion is material as well as mental. The pictures are playing on the edge of being either two dimensional and three dimensional. The second part of the installation is a material extension of the pictures, still using transparency and the same colors, most of the time though Sindour. These elements are in another substance, I keep them oating and chaotically mixed up. The state of mind should never be xed or judgmental.

Manasthithi: Hugarstand blndu tkni pappr (sindour) 1,20 x 0,60 m. Manasthithi: A State of Mind mixed media on paper (sindour).

28

29

30

31

Lagrima
Drangsnes, sland 2006.

32

33

Brimi bylur grjtinu gefur og tekur gull og trega httir aldrei endar hvergi ... skilur eftir tr.

The surf breaks upon on the rocks gives and takes gold and sorrow never stops has no end ... brings tears.

34

35

Fangau ljsi
Fangau norurljsin, tunglsljsi, ljsi innra me sjlfri r. Fangau ljsi.

Capture the light

Capture the north-lights, the moonlight, the light within you. Capture the light.

2011 Rekaviur, silfur, gifs og jrn 0,37 x 0,58 x 1,60 m. Driftwood, silver, plaster and iron.

2011 Fjlskyldubnd, fjrugrjt og silfur 0,10 x 0,20 x 0,45 m. Familybonds, seastone and silver.

36

37

2005 Snfellsjkull olukrt pappr 0,40 x 0,70 m. Snfells glacier oilbar on paper.

2009 Shaman, kol pappr 45 x 33 cm. Charcoal on paper.

38

39

Lagrima 2
Kpavogur, sland 2006

40

41

2006 Grsteinn og lbart 0,90 x 1,70 x 2 m. Greystone and rhyolite.

42

43

2011 Tunglskin fjru, fjrugrjt og silfur 0,32 x 0,48 x 0,75 m. Moonlight on the beach, seastone and silver.

2008 Bn, stulaberg og jrn 0,95 x 0,54 x 0,12 m. Prayer, Columnar basalt and iron.

44

45

2006 Tr, stulaberg 0,76 x 0,44 x 0,39 m. Tear, Columnar basalt.

46

47

13001
Frioul, Marseille, Frakkland 2004.

Cosmos, blndu tkni sand 4 x 4 m. Cosmos, mIxed media in sand.

48

49

El Dia
Valparaiso, Chile 2000.

Draumur srhvers fanga, blndu tkni 12 x 12 cm. The Dream of a prisenor, mixed media.

50

51

tiverkin Tr Tmans, Tr Gleinnar og Fami Vindanna eru unnin samvinnu vi Vi rnason runum 2007-2010.

The outdoors works Tears of the Time, Happy Tears and Embraced by the Wind are created in collaboration with Vi rnason the years 2007-2010.

Vir rnason, Japan 2009.

52

53

Abiko International Open-Air Art Exhibition 2009 12th

Abiko, Japan 2009.

Tr gleinnar, bambus, illgresi og vr fr 4,5 til 8 m lengd. Happy Tears, bamboo, weed and wire from 4,5 to 8 m in length.

54

55

Times
Port Luis, Mauritius 2008.

56

57

Bambus, blm, grjt og eldur 2,80 x 1,10 x 1,10 m. Bamboo, owers, stones and re.

Bambus, blm, grjt og eldur 2,80 x 0,60 x 0,60 m. Bamboo, owers, stones and re.

58

59

 Fami Vindanna
Vindarnir eru umfamair ljsinu, norurljs, tunglsljs, slarljs. Fami vindana, ertu fami ljssins.

Embraced by the winds

Winds are embraced by light, north-light, moonlight, sunlight. Embraced by the winds, and so embraced by light.

60

61

2010 Fami Vindanna, sjvargrjt og rekaviur 2,30 x 2,50 x 8 m. Embraced by the Winds.

62

63

 Sjvarmli
Sningin er unnin samstar vi stu Vilhelmnu Gumundsdttur af tilefni opnunar Gallersins Mjlkurbin Lista-Gilinu Akureyri 2011.

At the Seaside
The exhibition is created in collaboration with sta Vilhelmna Gumundsdttir at the occasion of the opening of the Gallery Mjlkurbin at Akureyri, Iceland, 2011.

64

65

Silki, sandur, grjt og blek. Silfur, vatn og textllitur. Silk, sand, stones, andi ink. Silver, water and textilcolor.

66

67

 Sjvarmli
Sjvarmli fir af sr allar tilnningar. Kalt og heitt. Hart og mjkt. Ljs og skugga. Lf og daua. Minnir okkur bernskuna .... pota puttunum sandinn og tna steina.

At the Seaside
The seashore reveals different emotions. Warm and cold. Soft and harsh. Light and shadows. Life and death. Reminds us of our childhood ....picking stones and poking ngers in to the sand.

68

69

Leiksning um veruleikann egar fellur t birtingu

Fyrir b.,vl,cb og hljsetningu eftir uri Jnsdttur.
Mynd- og tnlist, Salurinn, Kpavogur, sland 2008

Ebb and daybreak: representation of being

For b.. vl. cb + electronics by urur Jnsdttir.
Music and ne-art, Salurinn, Kpavogur, Iceland 2008.

Viur, plast, vatn og blek 2,20 x 0,65 x 2,20 m. Wood, plastic, water and ink.

70

71

Mireya Samper
Fdd 1964 Reykjavk, sland Bakkabraut 7 d, 200 Kpavogur, sland. Smi: + 354 544 8007, gsm: + 354 698 59 73 mireya@mireya.is www.mireya.is

NM
1990-93 Ecole dArt de Luminy, Marseille, Frakkland. 1993 DNSEP , Diplome National Suprieur dExpression Plastique. 1992 Fgurra mnaa styrkur fr Marseille borg, til nms vi Academia di Bologna, Italia. 1991 DNAP, Diplome National dArt Plastique. 1987-90 Mynd- og Handaskli slands. 1988 Fjrir mnuir Atelier Pie, Barcelona, Spnn. 1986 Franska, Facult de lettres Paul Valery, Montpellier, Frakkland. 1985 Stdentsprf fr MA, Akureyri, sland.

2000 Myth of modern times, Museo de lArte Contemporneo de Santiago, Chile. El Dia, Valparaiso, Chile. Abiko Open Air Exhibition, Abiko, Japan. International Kulturaustausch, Kameleon, Berlin, skaland. 1999 Portes ouvertes, Genie de la Bastille, Paris, Frakkland. 9/7, National Museum of Shillong, Meghalaya, Indland. 1998 Expedition, Kunstfabrik Am Flutgraben, Berlin, skaland. Am Paul Linker ufer, Berlin, skaland. 1997 Kunstfabrik Am Flutgraben, Berlin, skaland. 1990 Aids, Borgarsptali, Reykjavk, sland.

EDUCATION
1990-93 Ecole dArt de Luminy, Marseille, France. 1993 DNSEP, Diplome National Suprieur dExpression Plastique. 1992 Four months scholarship from the city of Marseille, for the Academia di Bologna, Italia. 1991 DNAP, Diplome National dArt Plastique. 1987-90 The Art and Craft school of Iceland. 1988 Fore months at the Atelier Pie, Barcelona, Spain. 1986 French, Facult de lettres Paul Valery, Montpellier, France. 1985 AA Collage of Akureyri, Iceland.

2000 1999 1998 1997 1990

Myth of modern times, Museo de lArte Contemporneo de Santiago, Chile. El Dia, Valparaiso, Chile. Abiko Open Air Exhibition, Abiko, Japan. International Kulturaustausch, Kameleon, Berlin, Germany. Portes ouvertes, Genie de la Bastille, Paris, France. 9/7, National Museum of Shillong, Meghalaya, India. Expedition, Kunstfabrik Am Flutgraben, Berlin, Germany. Am Paul Linker ufer, Berlin, Germany. Kunstfabrik Am Flutgraben, Berlin, Germany. Aids, Borgarsptali, Reykjavk, Iceland.

Einkasningar og tiverk
2011 2010 2009 2008 2007 2006 2005 2004 2003 1999 Sjvarmli, Akureyri, sland. Fami vindanna, Garur, sland. Himinn og jr, Garur, sland. Vttir, Akureyri, sland. Ambo, Akureyri, sland. Bn, Reykjavk, sland. Vestur/Suur, Kpavogur, sland. Lagrma, Drangsnes, sland. Nttran okkar, Reykjavk, sland. Vatnsheimar, Reykjavk, sland. Hugarstand Manasthiti, Reykjavk, sland. gnin nttrunni, Reykjavk, sland. Manasthiti, Mumbai, India. Samryskja, Gerarsafn, Kpavogur, sland.

Verk opinberum stum

Fangau ljsi, Bjarskrifstofur Garur, sland Fami vindanna, Garur, sland. Lagrma, Drangsnes, sland. Fusion, Swarovski Crystal World, Inspruch, Austurrki. gnin nttrunni, Landsbanki slands. Glerheimar, Grand Htel Reykjavk, sland.

EXHIBITIONS
Solo exhibitions and outdoors works 2011 At the Seaside, Akureyri, Iceland. 2010 Embraced by the winds, Garur, Iceland. Heaven and earth, Garur, Iceland. 2009 Vttir, Akureyri, Iceland. Ambo, Akureyri,Iceland. 2008 Prayer, Reykjavk, Iceland. 2007 Vestur/Suur, Kpavogur, Iceland. 2006 Lagrma, Drangsnes, Iceland. Our Nature, Reykjavk, Iceland. 2005 Water-worlds, Reykjavk, Iceland. 2004 Hugarstand - Manasthiti, Reykjavk, Iceland. Silence of the nature, Reykjavk, Iceland. 2003 Manasthiti, Mumbai, India. 1999 Samryskja Fusion, Museum of Kpavogur, Iceland.

Art in puplic places

Capture the light, Municipal ofces, Garur, Iceland. Embraced by the winds, Garur, Iceland. Lagrma, Drangsnes, Iceland. Fusion, Swarovski Crystal World, Inspruch, Austria. The silence in the nature, Landsbanki slands, Iceland. Glass worlds, Grand Htel Reykjavk, Iceland.

RecidencYs, sYmposiums og workshops

2009 2008 2004 2001 2000 2000 1999 Abiko Shi, Japan. Flic en Flac, Mauritius. les de Frioul, Hspital Caroline, Marseille, Frakkland. Nida, Lithen. Listahskli Valparaiso, Chile. Abiko Shi, Japan. Shillong, Meghalaya, Indland.

RecidencYs, sYmposiums and workshops

2009 2008 2004 2001 2000 2000 1999 Abiko Shi, Japan. Flic en Flac, Mauritius. les de Frioul, Hspital Caroline, Marseille, France. Nida, Lithen. Facultad de Arte Valparaiso, Chile. Abiko Shi, Japan. Shillong, Meghalaya, India.

Samsningar
2012 Ferskir Vindar Gari, sningarstjri, Garur, sland. 2010 Ferskir Vindar Gari, sningarstjri, Garur, sland. 2009 Abiko International Open Air Exhibition, Japan. 2008 Times, Port Luis, Mauritius. Leiksning um veruleikann egar fellur t birtingu, mynd- og tnlist, Salurinn, Kpavogur, sland. 2003 International Mail Art Exhibition of Naxos, Naxos, Grikkland. 2002 Swarovski Crystal World, Inspruch, Austurrki. 2001 M.K. Ciurlionis National Museum Kaunas, Lithen. On the edge, International Symposium, Nida, Lithen.

StYrkir
2009 2002 2002 2001 2001 2000 2000 1993 Fusa technico, Abiko, Japan. Menningarr Kpavogs, sland. Sex mnaa starfslaun, Menntamlaruneyti slands. Menningarr Bnaarbanka slands hf. Menntamlaruneyti slands. Fusa technico, Abiko, Japan. Menntamlaruneyti slands. Sklastyrkur fr Marseille borg, Frakklandi.

Group exhibitions
2012 2010 2009 2008 2004 2003 2002 2001 Fresh Winds in Garur, curator, Garur, Iceland. Fresh Winds in Garur, curator, Garur, Iceland. Abiko International Open Air Exhibition, Japan. Times, Port Luis, Mauritius. Ebb and day break: representation of being, music and ne-art, Salurinn, Kpavogur, Iceland. 13001, Frioul, Marseille, France. International Mail Art Exhibition of Naxos, Naxos, Greece. Swarovski Crystal World, Inspruch, Austria. M.K. Ciurlionis National Museum Kaunas, Lithuania. On the edge, International Symposium, Nida, Lithuania.

RECEIVED GRANT
2009 Fusa technico, Abiko, Japan. 2002 Cultural department of the town of Kpavogur, Iceland. 2002 Grant, 6 months salaries, from the Ministry of Culture, Iceland. 2001 Cultural department of Bnaarbanki slands hf. 2001 Ministry of Culture, Iceland. 2000 Fusa technico, Abiko, Japan. 2000 Ministry of Culture Iceland. 1993 Scholarship from the city of Marseille, France.

72

73

Myth of modern times

Museo de lArte Con temporneo de Santiago, Chile 2000.

Akrl og bmull 6 x 8 x 8 m. Acryl and cotton.

Mireya Samper Bakkabraut 7d 200 Kpavogur Iceland gsm: +354 698 5973 mireya@mireya.is mireya.is

74

75

76