The West Fjords in 3D

NOTE: The photos in this post are stereoscopic and can be viewed in 3D by crossing one’s eyes to merge the two photos together into a central 3D image. For more information on stereoscopic photography follow this link.

There are more sheep than humans in the West Fjords and they are wild on the land from June until September. Photo: Meghan Riley 2018

Photos often flatten the landscape and shrink the majestic. The other night after the sun had set and was starting to rise again in the northwest, I looked to the east and saw a very large and round silver-golden moon rising in a pink sky above a purple cloud. The moment was fleeting as the purple wisps of the cloud soon knit a curtain for the moon to hide behind. While the moon could still be seen, I sat in awe and shrugged off the urge to grab my phone to take a picture. Some beauty cannot be captured.

Though I often do try.

Clouds blanketing the sea in the West Fjords. Photo: Meghan Riley 2018
Sunset at the top of the fjord while camping in Heydalur. Not long before sunrise. Photo: Meghan Riley 2018

A trip through the West Fjords, I exhausted myself taking photos. What is this urge to capture and collect?

Mountains and sky, snow and ice, birds and sheep, moss and…

Flower embroidery on gravel. Drangajökull Photo: Meghan Riley 2018
Drangajökull glacier under blue sky. Photo: Meghan Riley 2018
Meadow rock in Heydalur. Photo: Meghan RIley 2018
Heydalur Photo: Meghan Riley 2018
We spotted steam rising from the ocean as we approached Reykanes. Photo: Meghan Riley 2018
Reykanes Photo: Meghan Riley 2018
Reykanes Photo: Meghan Riley 2018
Valley at Drangajökull glacier. 9pm Photo: Meghan Riley 2018

It is all very beautiful: Looking far and wide across the fjords or close to the etchings of lichen on a rock. My senses are together braiding my experience, reaching out all around me to take it in.

Bird song, gurgling water, wind, the smell of snow…

Bird song. Heydalur Photo: Meghan Riley 2018
The smell of snow and sunshine. Photo: Meghan Riley 2018

A photo will never fully capture any of this. But it is a trigger to remember these sensations; a doorway through which to someway return.

Turf house, West Fjords Photo: Meghan Riley 2018


PERSONAL REFLECTION: Fibre as a time-based labour.

It took a few days for me to settle in and realize that it was indeed a textile residency that I had signed up for. On one level I knew that this wonderful field school opportunity would mean a month of working with fibers… but I don’t think that my hands knew and understood what they were getting into. Three days in, after spinning wool and weaving tapestry in workshops, I found that I could not let myself sleep until I was finished the small tapestry I had started earlier that day. My hands just wouldn’t stop and not only that, but some nearly manic compulsion had awoken in me to Produce!

“Produce! One more row! Keep at it! One small step at a time!!” said my inner voice beating the drum in my ear.

Catching the weaving bug. Photo: Meghan Riley, 2018

The midnight sun did not help to calm this drive. Our studio at the Textílsetur has windows all along the western facing wall and we are so fortunate to be able to watch the sun setting over the sea as we craft. Those of us who caught the weaving bug worked into the night as the setting sun gradually filled the studio with an orange glow.

The view from our studio. Photo: Meghan Riley, 2018

It was then that I finally realized (and relaxed into it). At last, here in Blönduós for the month of June, I had time to craft. A passion for fibres that has literally been stuffed into closets and put away because there is simply not time for quilting and tailoring in the busy school year, finally taken off the back burner and set to boil.

Fibre art is a time-based labour. One stitch at a time amounts to many. The slow growth can be addictive. All it takes is time. Just give your time.


After one week in Blönduós, Spinning, weaving and knitting. Photo: Meghan Riley, 2018

Many days of labor are contained within one sweater, especially if we consider all of the steps required to transform wool off the back of a sheep into a fine yarn for knitting. There is an artist here in residence that is doing exactly that. Deborah Gray (deborah.gray7 on instagram) is cleaning, carting, dying and spinning the wool, everything short of shearing the sheep herself. And perhaps now this work is considered extraordinary, especially since a short walk to the grocery store would allow her to purchase all the yarn she needed, in whatever colour, in whatever thickness. What is now a unique and perhaps meditative hobby, used to be an essential skill. “It was for subsistence. If you wanted to be clothed, if you wanted rope or fabric for your sails, you needed to know how to work with fibres and you put in the time.” she says.

Industrialization has surely sped up the processing of fibres as well as removed the obligation of holding fibre skill and knowledge in our hands. But in our choosing, if we find a rhythm with wool and wheel, a spinning wheel can be a time machine. A warp and weft can arouse a body memory older than the bones in our hand and an age-old craft can be followed back on a thread many generations. But it takes time.

Spinning wind, water and wool. Photo: Meghan Riley, 2018