Fish Factory

Alexandre Barbé is a sculptor. He defines his work protocol in a few words : “I pay attention to off-the-path-found-places histories; I seek the extraordinary in what was thrown on scrapheap. If I want a story to be told louder, then I think of an intervention.”

In Stöðvarfjörður he wrote : “1: Odd pieces of drift wood present a journey : in its final shape he carries its wounds, in its unknown drawing I guess a far origin. 2: Birds eat berries then poo pink on white lichens. 3: Dry branches lay in a field hundreds of meters away from trees or houses. 4: A cylindrical building with no floor became a trash can. Corrosion turned its content into a monochrome, and the space made it a perfect circle.”

His work is not about photography, all the pictures are archives.

For some years now, Alba Suau’s work has focused on the experience of entering the painting; of allowing oneself to be enveloped, absorbed by it. These spaces of isolation are not places of passage, but on the contrary, places to stop and stay; they are spaces marked by slowness, by contemplation. It is a question of creating a meditative state and plunging into the pigments.

So many aspects that are shared by Stöðvarfjörður itself.

For this residency, their objective was – in addition to working on their own projects – to collaborate together. Their interventions in the landscape are the result of thinking in an empathic and attentive way : to try looking as the other would, and to only use the space and its already present components,

Laminaria hyperborea, 2022 Intervention.
Laminaria Hyperborea.

Krækiber, 2022
Intervention in the landscape. Crowberries and water.
Fish Factory, Stöðvarfjörður, Iceland.

Un bateau à la mer, 2022.
By Alexandre Barbé from an Alba Suau’s drawing. Intervention.
Drift wood.

Antioxydant, 2022.
By Alexandre Barbé Intervention.
Wood and crowberries.

Moyen non-rond, 2022.

By Alexandre Barbé. Intervention.

Drift wood.